THE 


ABC 

of 

Home 


PUBLISHED  BY 


The  Sherwin-Williams  Co. 


The  ABC  of 
Home  Painting 


The  Sherwin-Williams  Co. 


PAINT  AND  VARNISH  MAKERS 

Fictories:  Cleveland,  Chicago,  Newark,  Montreal,  London,  Eng. 
Sales  Offices  and  Warehouses  in  Principal  Cities 


The  Sherwin-Williams  Co. 


AVrr.V 

hjL.il 


LIUU. 


COLUMBIA  UNIVERSITY 


A Real  Guide  Book 
To  Home  Up-Keep 


THE  painting  instructions  set  forth  in  this  book  have 
been  prepared  by  a practical  painter  who  is  able  to 
write  in  the  language  of  the  home  owner.  Most  books  on 
painting  are  so  full  of  the  terms  of  the  trade  that  nobody 
but  a painter  can  understand  them.  There  is  not  a single 
technical  word  or  phrase  used  in  these  instructions.  Any 
one  can  understand  them  and  follow  them. 

The  Sherwin-Williams  Co.  makes  a complete  line  of 
home  finishes  — a paint,  stain,  enamel  or  varnish  for 
every  surface  in  and  around  the  home.  Each  comes  all 
ready  to  apply  and  in  such  sizes  of  cans  that  you  need  buy 
only  the  quantity  you  need  for  your  purpose. 

The  more  important  painting  work  around  a home 
should  be  done  by  an  experienced  painter,  but  the  little 
jobs  can  be  done  by  any  one.  Just  get  the  right  Sherwin- 
Williams  Product  for  the  surface  to  be  refinished  and  fol- 
low the  instructions  here  set  forth. 


Page  three 


What  do  you  wish  to  paint? 


To  assist 

the  home  ow)u 

particular 

S-W  Product 

be  painted,  varnished,  . 

different  surfaces  are  lisi 

A 

SURFACE 

Patf 

Andirons 

35-d 

Automobiles 

To  clean  brass.  . 

\(>-r 

To  dress  top 

17-4 

To  dress  leather . 

16-/ 

To  refinish 

. 17-a 

B 

Baby  Carriages 

To  enamel . 

19-4 

To  varnish. 

16-« 

To  restain 

20 -a 

To  finish  hood 

17-4 

Barns 

Exterior  1 

1 -a.  1 1-4.  14-*/,  14-r 

Baskets 

To  stain  and  \va: 

, 18-4 

To  enamel 

19-4 

To  rcstain 

. 2()-a 

Bath-Tubs 

Exterior 

32-4 

1 nterior 

34-a 

Beds 

To  refinish 

2()-a 

To  enamel 

19-4 

Benches 

13-r 

Bird  Cages 

34- r 

Blinds 

Wood 

. . 11-a,  11-4.  14-r 

1 ron 

10-r,  d 

Boats 

To  varnish 

14-a 

To  paint 

11-a.  11-4 

Boilers 

To  protect 

35-4 

in  readily  finding  the 


SURFACE 

Bookcase 

To  stain . . . 
To  restain . 
To  enamel . 
To  varnish . 

Brick 

Buggies 

To  refinish . 


Pair 

18- a 
20 -a 

19 - 4 
19-a 

14-r 

17 -a 


Canoes 

To  varnish 

To  paint 

Canvas  Wall  Coverings . 

Carriages 

Exterior 


11 -a, 

2 6-r, 

17a,- 

Ceilings 

Porch 14-a,  11-a, 

Interior,  plaster.  . 2 (>-c,  32 -a. 

Interior,  metal 


Cellars 

Chairs 

'o  enamel . . 
'o  paint . . . . 
'o  stain .... 
I’o  varnish . . 
To  refinish.  . 


Chandeliers. 

Chicken-Houses 

Exterior 


14-a 
11  -4 

27 -a 

17 - 4 

11-4 
c,  d 
31  -4 

32-d 

.19-4 

,23-a 

18- a 

19- a 

. 20-it 

34- c 


11-a,  4,  14-d,  r 


Brass 

To  clean . 


16-r 


Interior  perches 

1 5-a 

Chimneys 

Concrete 

,.14-r 

Clothes  Reels 

16-4 

Clothes  Posts 

16-4 

Concrete 

Exterior 

14-r 

Floors 

. 34 -d 

Page  four 


Consult  this  index 


c 

F 

SURFACE 

Page 

SURFACE 

Page 

Corn-Cribs 

14 -d 

Floors,  Porch 

Cornices,  Metal 

15-  f 

Wood 

13-tf 

Croquet  Mallets 

14-a 

Concrete 

. . . U-d 

9^  (l 

Flower  Boxes 

11 -a,  6 

Flower  Urns 

D 

Plaster 

. 14-c 

Dancing  Floor 

24 -b 

Metal 

IS-/ 

Desks 

Foundation 

14-c 

To  restain 

.20 -a 

Furnaces 

35-6 

To  revarnish 

19 -a 

Furniture 

Dog  Kennels 

(See  Woodwork,  Interior) 

Exterior 

11 -a,  6, 

14-c 

Doors,  Exterior 

G 

To  enamel 

14-6 

Garages 

To  paint 

11 

1 -a,  b 

Metal 

15-/ 

To  stain 

13 -b 

W ood 

To  varnish 

14-a 

Concrete 

. . 14-c 

'to  stain  Mahoganv.  . . 

13-c 

Garbage  Cans  

15-/ 

Doors,  Interior 

Garden  Seats 

To  enamel 

19-6 

Concrete 

14-c 

To  paint 

23 -a 

Wood 

15-c 

'to  stain  

18-fl 

Gas  Jets 

1 o varnish 

19 -a 

To  gild 

34-c 

lo  stam  Mahoganv.  . . 

I9-a 

Gates 

E 

(See  Fences) 

Electric  Fans 

. . . 34-c, 

16-r 

Gold 

To  clean 

1 6-cf 

F 

Fabrics 

Golf  Clubs 

14-a 

To  stencil 

31  -a 

Grain  Houses 

Farm  Machinery 

16-6 

Exterior 

14  -d 

Fence-Posts  

. . . 14--, 

16-a 

Gutters  and  Drain  Spouts 

15-/ 

Fences 

\\  ood 

. . 14 -d. 

16-fl 

H 

Iron 

16 

-c,  d 

Harness 

16-/ 

Fire  Escapes 

16 -d 

Hat  Racks 

Fishing-Rods 

14 -a 

(See  Chairs) 

Flag  Poles 

Half-Timbers  . 

. . 15-<f 

Concrete 

14  -c 

Hot  Beds 

Metal 

16  -d 

Exterior 

1 \-a,  b 

Wood 

11 

- a , b 

Interior 

Floors,  Interior 

House,  Exterior 1 1-a,  6, 

14-c,  d,  e 

To  finish  Concrete  . . . . 

34 -d 

To  grain 

26 -a 

I 

To  oil 

26-6 

Ironwork 

. . 16-c,  d 

to  paint 

24-  c 

To  stain  (new) 

24-a 

K 

To  refinish 

2\-d 

To  wax 

24-6 

Keene’s  Cement,  Enamel 

To  varnish 

23-6 

Finish  for 

32-6 

Page  five 


Index  — Continued 


L 


SURFACE 

Page 

Ladders 

164 

Lattice  Work. 

II-0,  b,  15-r 

Lawn  Mower 

164 

Lawn  Roller 

164 

Leather 

. . . 16-/,  174 

M 

Mail  Boxes 

1 1-0,  b,  15-/ 

Metal  Exterior 

. . 15-/,  16-r,  d 

Muslin 

To  paint 

26r,  27-0 

P 


Pergolas 11-0,  b,  15-r 

Picture  Frames 

To  gild 34-t 

Plaster  2 (>-c,  27 -a,  31  -b,  32 -a,  c,  d 

Plaster  Board 

(See  Plaster) 

Porch  Furniture 15-r 

Pumps 

Wood ll-a,  b,  14-r 

1 ron 16 -b,  c 


R 


Radiators 

354 

Rafters 

15-r 

Refrigerators 

(Exterior, 

See  Woodwork,  interior) 

Interior. . 

34-0 

Relief  Work 

Metal.  . . 

314 

Plaster . . 

314 

Roofs 

New 

154 

Old 

14-r 

Tin 

15-/,  I6-0 

S 

Screens  . ....  154 

Sheds  1 4-</,  r 

Sheeting,  Tin  and  Metal  . 15-/,  164 

Shelves  . . 23-0 

Shingles 

To  stain 15 -d 

To  paint 14-r 

Shutters  11-0,  b.  14-^ 


SURFACE 


s 


!‘atr 


Siding 

New 11-0 

Old.  . 114,  14- 

Rough  15- 

Sign  Boards  II-0,  b,  15- 

Silos 

Exterior 

Wood  144, 

Metal 16- 

Concrete 14-r 

interior 15-0 


Silver,  To  Clean 

Sinks 

Sleds 

Sleighs 

Sprinkling  Cans 
Steel,  Ceilings  of 
Step  Ladders 
Steps 

Store  Fronts 
Storm  Porches 
Stove  Pipes 
Stucco 

Exterior 


16-<r 

34-0 

164 

164 

IS-/ 

314 

164 

13-0 

16-r,  1 1-0,  b 
II-0.  b 
344 

14-r 


Summer  Houses  11  -0,  b,  14-r,  15-r 

Swings . 15-c 


T 

Tables 

(See  Woodwork,  Interior) 

Tennis  Racquets  ...  17-/ 

Tin  Sheeting  15-/ 

Tools  and  Implements  . . 164 

Trunks  14-0 


W 


Wagons  164 

Walls,  Exterior 

Brick 14-r 

Cement 14-r 

Concrete 14-r 

Stucco 14-r 


Weather  Board  H-0.  b,  14-r 


Wood,  Siding 

Old 

New 


Page  six 


114,  14-r 
11-0 


I ndex  — Continued 


w 

SURFACE  Page 

Walls,  Interior 

To  enamel 32 -a 

To  kalsomine 32-d 

To  mottle  and  blend 2 7-a 

To  paint,  flat 2 6-c 

To  stain  (wood) 18-7 

To  stencil 31  -a 

To  varnish  (wood) 1 9-a 

To  water  paint 32-c 

Water  Pipes 35 -7 

Water  Tanks  35 -7 

Water  Towers  .......  11-a,  7,  16 -d 

Wheelbarrows 16 -b 

Wicker  Work 

(See  Baskets) 

Windmills 11-<j,  7,  1 6-d 

Woodwork,  Exterior 

To  paint 

New 11-a 

Old 11-/; 

To  stain 15 -d,  e 

To  varnish 

New 1 4-a 

Old . 14 -a 

To  give  Mahogany  finish 13-c 

Woodwork,  Interior 

To  enamel 19 -b 

To  give  Mahogany  finish 19-r 

To  grain 20 -b 

To  paint 23-a 

To  refinish 20-a 

To  stain 18-a 

To  varnish 19-a 

To  wax  finish 18-Z> 


Miscellaneous 

SURFACE  Vage 

Automobiles  and  Other  Surfaces 

To  wash  1 1-c 

To  polish 1 7-d 

To  dust  and  polish 17-^ 

Brushes 

Exterior 10-  c 

Interior 40  -b 

Color  Plate  Effects  43-44-47-48 

Don’ts 41-42 

Drying 39 -b 

Estimating 

Interior 37-  r 

Exterior 10  -d 

Filling  Cracks  in  Plaster  39 -d 

Furniture  and  Woodwork 

To  wash 3 7-i? 

Insecticides  49 

Paints,  How  to  Apply 

Exterior 10-7,  c 

Interior 40-7 

Preparing  Surfaces  to  be  Painted 

Exterior 10-tf 

Interior 3 9-a,  40-a 

Removing  Paint  and 

Varnish 40 -a,  10 -a 

Rubbing 39-r 

Selecting  Wood  Finishes  . . .11 -a,  7,  c 


Sherwin-Williams  Products 

50-52 -In  cl. 

To  Make  Room  Appear  Lower  . 3 7-g 
To  Make  Room  Appear  Wider  37-7 
Trees,  Shrubs,  etc. 


To  protect 49 

Waxing 39 -a 


For  I ndex  of  Products,  rejer  to  page  50. 


Pleasing  Color  Scheme  for  Suburban  Dwelling 

Sec  Page  44  for  Specifications 


A Word  of  Caution 


HE  instructions  set  forth  in  this 


book  are  based  upon  the  use  of 
Sherwin-W  illiams  Products  exclusive- 
ly. As  the  paints,  varnishes  and  other 
finishes  of  various  manufacturers  differ 
in  many  ways,  it  is  essential  that 
Sherwin-Williams  Products  be  used, 
and  used  exactly  as  specified,  if  the  most 
satisfactory  results  are  to  be  secured. 
There  are  25,000  dealers  selling  Sherwin- 
\\  illiams  goods,  but  if  you  can  not  secure 
them  conveniently,  write  us  and  we  will 
see  that  you  are  supplied. 


Page  nine 


Exterior  Work 


(a)  Preparing  Surfaces — On  new  exterior  work  to  be  painted, 
apply  S-W  Orange  Shellac  with  a brush  over  all  knots  and  sappy 
places.  On  old  work,  first  remove  all  loose  paint,  using  a scraper  or 
steel  brush,  S-W  Taxite  (a  liquid  paint  and  varnish  remover),  or  a 
painter’s  torch.  Putty  all  nail-holes  after  the  priming  coat  (see 
page  11-tf). 

( b ) f low  to  Apply  Paint — Exterior  paint  should  be  applied  with 
the  brush  not  full  of  paint,  and  should  be  rubbed  on  to  the  surface 
well,  by  using  a stroke  from  left  to  right  and  back  again,  or  by  using 
the  brush  in  a rotary  or  circular  movement. 

( c ) Brushes — For  painting  exterior  siding,  use  a 4-inch  bristle 
brush.  For  exterior  trimming  the  same  kind  of  brush  in  3-inch  width 
will  be  most  convenient  to  use.  For  the  window-sash,  a 1 Winch 
brush  of  the  same  character  is  recommended. 

For  carriage  and  auto  work,  use  a bear-hair  or  badger-hairbrush 
to  apply  the  varnish. 

Exterior  Estimating 

( d ) By  following  these  directions  the  reader  should  be  enabled  to 
obtain  a very  close  estimate  of  the  quantity  of  material  necessary  for 
exterior  painting.  This  method,  however,  is  for  general  work,  and  the 
result  will  be  fairly  accurate.  No  set  method  of  estimating  can  be 
correct  in  every  detail,  as  allowances  must  be  made  for  a varying 
number  of  bays,  gables  and  other  projections,  and  for  the  difference 
in  absorption  of  the  various  building  materials. 

Frame,  brick  and  concrete  buildings  are  all  figured  alike,  with 
the  exception, of  course,  that  a different  paint  is  applied  on  concrete  or 
brick  structures  than  on  those  of  wood  construction.  On  frame  build- 
ings, SWP,  Creosote  Paint  or  Mine,  Mill  and  Factory  Colors  are 
most  generally  used.  On  concrete,  cement,  brick  and  composition 
building  material  of  like  nature,  Concrete  Finish  should  be  used. 

To  ascertain  the  number  of  gallons  for  body  of  building,  measure 
the  distance  around  the  building  and  multiply  by  the  average  height. 
This  will  give  the  number  of  square  feet  to  be  painted.  Divide  this 
by  360  (number  of  square  feet  to  the  gallon  S\\  P covers  in  two  coats) 
and  the  result  will  approximate  the  number  of  gallons  of  SWP 
needed  for  the  job.  Then  one-sixth  of  this  quantity  will  represent 
the  amount  needed  for  cornices,  trimming,  etc.  The  same  amount 
should  be  allowed  for  the  sash. 

An  average  of  40  square  feet  has  been  established  for  one  pair  of 
blinds.  If  the  number  of  blinds  is  multiplied  by  40  and  the  result 
divided  by  360,  this  will  give  the  number  of  gallons  needed  for  all 
blinds. 


Page  ten 


Exterior  w o rk 


If  the  porch  ceiling  is  to  be  painted  with  SWP,  multiply  its 
length  by  its  width,  which  will  give  its  area.  Divide  this  by  360  for 
the  number  of  gallons  needed  for  that  surface.  If  to  be  finished 
natural,  estimate  the  number  of  gallons  of  Rexpar  Varnish  needed  for 
two  coats,  divide  area  by  150  (covering  capacity  of  Rexpar,  two  coats). 

Exterior  doors  of  average  size  which  are  to.be  painted  require 
about  one  pint  of  S\\  P.  Doors  of  oak  or  other  open-grained  wood  to 
be  stained  and  varnished  will  require  about  one-half  pint  of  stain,  one 
pound  of  Paste  Filler  and  one  pint  of  Rexpar  each.  Pine  or  close- 
grained  doors  to  be  stained  and  varnished,  require  about  one-half 
pint  of  stain  and  one  pint  of  Rexpar  each. 

Shingled  roofs  to  be  stained  with  S-W  Preservative  Shingle 
Stain,  are  usually  treated  with  two  coats — one  dip  coat  and  one  brush 
coat.  To  determine  the  quantity,  multiply  the  length  of  the  house 
by  its  width  and  add  one-third  that  amount,  which  will  give  the 
approximate  area  of  an  average  roof.  Divide  by  40  (covering  capac- 
ity in  square  feet  of  Preservative  Shingle  Stain,  two  coats  to  the 
gallon)  and  result  will  give  approximate  number  of  gallons  necessary. 

Staining  an  old  roof  which  has  been  previously  stained,  the 
approximate  covering  capacity  is  considered  to  be  100  square  feet 
per  gallon,  one  brush  coat. 

Exterior  Surfaces  and  How  to  Treat  Them 

(a)  NEW  LUMBER — SW  P,  a prepared  paint  made  in  a wide  range 
of  colors,  should  be  used  to  paint  exterior  woodwork,  such  as  siding, 
trimming,  sash,  etc.,  using  three  coats.  The  paint  should  be  thinned 
for  use  with  pure  raw  linseed  oil  and  pure  spirits  turpentine,  as  follows : 
For  white  pine,  poplar,  spruce,  fir,  gum  (selected),  redwood,  California 
cedar  and  white  cedar,  use  as  first  coat  SWP  in  color  selected,  thinned 
with  one  gallon  pure  raw  linseed  oil  and  a pint  of  pure  spirits  turpen- 
tine to  each  gallon  of  paint;  for  second  coat  use  SWP  thinned  with  one 
pint  pure  spirits  turpentine  to  each  gallon  of  paint;  for  third  or  last 
coat,  apply  the  paint  just  as  it  comes  from  the  can  (except  very 
dark  colors,  in  which  case  less  oil  and  more  turpentine  should  be  used 
in  the  priming  coat).  For  hemlock,  cypress,  Washington  cedar, 
red  cedar,  hard  pine  (Georgia,  Norway  and  Southern),  use  as  first 
coat,  SWP  in  color  selected,  thinned  with  one  half-gallon  linseed  oil 
and  one  gallon  pure  spirits  turpentine  to  each  gallon  of  paint;  as 
second  coat,  use  one  quarter-gallon  pure  spirits  turpentine  to  each 
gallon  of  paint;  for  third  coat,  apply  paint  as  it  comes  from  the  can. 

( b ) OLD  LUMBER— I n painting  old  exterior  woodwork,  see  that  all 
loose  paint  is  removed  and  that  the  surface  is  free  from  grease,  soot, 
etc.  Apply  two  coats  of  SW  P,  brushing  out  each  coat  well  and  allowing 
24  to  36  hours  between  coats  for  thorough  drying.  If  any  thinning  is 


Page  eleven 


A Good  Color  Combination  for  Colonial  House 

See  l’age  4.t  for  Specifications 


Exterior  Work 


required,  use  only  pure  raw  linseed  oil  and  turpentine.  On  old  wood 
about  one-quarter  gallon  pure  spirits  turpentine  and  one-quarter 
gallon  pure  raw  linseed  oil  must  be  used  to  each  gallon  of  paint  in 
reducing  the  first  coat  to  a thin  consistency,  to  insure  proper  penetra- 
tion of  the  surface  and  thorough  drying  of  the  new  coat  of  paint. 

(a)  Porch  Floors — To  Paint — For  new  porch  floors,  use  three  coats 
of  S-W  Porch  and  Deck  Paint.  The  first  coat  should  be  thinned  for 
use  with  about  one  quart  of  pure  raw  linseed  oil  and  one  quart  of  pure 
spirits  turpentine  to  each  gallon  of  paint.  Apply  second  and  third 
coats  as  paint  comes  from  can.  For  old  floors  previously  painted, 
two  coats  of  this  paint  will  be  sufficient.  To  treat  canvas  used  on 
floors  of  sleeping  porches,  thin  the  first  coat  with  one-half  gallon  of 
pure  raw  linseed  oil  to  every  gallon  of  paint  and  omit  the  turpentine. 
For  second  and  third  coats  apply  the  paint  as  it  comes  from  the  can. 

( b ) Doors — Exterior  To  Stain  and  Varnish — Apply  a coat  of 
S-W  Golden  Oak  Stain  or  S-W  Oil  Stain  (allow  Oil  Stain  to  remain 
on  the  wood  about  ten  to  twenty  minutes  or  until  it  penetrates  the 
wood  and  wipe  off  surplus  stain  with  a soft  cloth).  After  allowing 
about  24  hours  for  thorough  drying,  the  wood,  if  open-grained  as  is 
oak,  chestnut,  ash  and  similar  varieties,  should  be  treated  with 
S-W  Paste  Filler  in  shade  selected.  The  filler  should  be  thinned 
to  the  consistency  of  thick  cream  and  applied  with  a coarse  brush, 
wiping  off  the  surplus  filler  across  the  grain  with  burlap  or  excelsior, 
allowing  only  so  much  of  the  filler  to  remain  as  has  entered  the 
pores  of  the  wood  and  is  intended  to  remain  there.  When  allowed 
to  set  about  24  hours,  the  surface  should  be  lightly  rubbed  with 
00  sandpaper.  Finish  this  surface  with  two  coats  of  S-W  Rexpar 
Varnish,  allowing  about  36  hours  between  coats  for  thorough  dry- 
ing and  sandpapering  the  first  varnish  coat  to  a perfectly  smooth 
surface  with  00  sandpaper.  If  a dull  surface  is  desired,  rub  the 
last  coat  with  pumice-stone  and  oil  after  the  varnish  has  thor- 
oughly hardened.  Doors  of  close-grained  wood , such  as  pine,  cypress, 
etc.,  should  be  treated  in  the  same  way,  but  the  paste  filler  should 
not  be  used. 

(c)  Doors — Exterior — To  Mahoganize  Doors  of  Birch,  Maple 
or  Mahogany — First  apply  a coat  of  S-W  Permanent  Mahogany 
Stain  No.  700  (made  in  Light  Mahogany,  Dark  Mahogany  and 
Brown  or  Antique  Mahogany).  After  this  is  allowed  to  dry  over 
night  the  wood  should  be  sandpapered  lightly  and  treated  with  S-W' 
Mahogany  Paste  Filler.  (Follow  instructions  on  page  18-a.)  After 
sandpapering  to  a perfectly  smooth  surface  with  00  sandpaper  when 
the  Filler  has  been  allowed  to  dry  about  24  hours,  apply  two  or  more 
coats  of  S-W  Rexpar  Varnish  or  S-W  Kopal  A arnish,  reducing  the  first 
coat  with  about  one  pint  of  turpentine  to  a gallon  of  varnish.  From 


Pane  thirteen 


Exterior  Work 


36  to  48  hours  of  thorough  drying  must  be  given  between  coats, 
sandpapering  the  first  coat  of  varnish  to  a smooth  surface.  For  a dull 
finish  the  final  coat  can  be  lightly  rubbed  with  pumice-stone  and  oil 
or  pumice-stone  and  water,  after  the  varnish  has  been  allowed  to 
become  thoroughly  hardened  (after  48  hours). 

(a)  Doors,  Porch  Ceilings,  Boats,  Canoes,  Golf  Clubs,  etc.— 
To  Varnish — S-W  Rexpar  Varnish  or  S-W  Kopal  Varnish  should  be 
used  for  varnishing  these  surfaces.  For  new  work,  apply  three  coats, 
thinning  the  first  coat  with  pure  spirits  turpentine  in  the  proportion 
of  one  pint  of  turpentine  to  one  gallon  of  varnish.  Allow  24  hours 
between  coats  and  sandpaper  first  and  second  coats  with  00  sand- 
paper. On  previously  varnished  surfaces  apply  two  or  three  coats 
of  Rexpar  as  directed  for  new  work,  cleaning  the  surface  thoroughly 
to  remove  spots,  stains,  etc.,  which  would  show  up  under  the  trans- 
parent varnish. 

( b ) Doors — To  Enamel — Apply  two  or  more  coats  of  S-W  Master 
Painters  Undercoating,  S-W  ODP  or  S-W  Flat-Tone  White  to 
produce  a surface  and  foundation  for  the  enamel  coat.  Allow  24 
hours  for  drying  of  each  coat  and  sandpaper  with  00  finishing  paper, 
avoiding  all  brush  marks.  After  a perfect  undercoating  is  secured, 
apply  two  coats  of  S-W  Old  Dutch  Enamel,  allowing  48  hours  between 
coats  for  drying. 

( c ) Cement,  Concrete,  Stucco  and  Brick — To  Finish — S-W 

Concrete  Finish  is  suitable  for  surfaces  of  this  kind.  The  parts  to  be 
treated  with  it  should  be  dry  and  free  from  dust  and  grease.  S-W 
Concrete  Wall  Finish  should  be  applied  as  it  comes  from  the  can. 
For  best  results  on  concrete  of  ordinary  texture,  two  coats  are 
sufficient.  For  very  smooth,  hard  surfaces,  the  first  coat  may  be 
thinned  with  pure  spirits  turpentine,  using  from  a pint  to  a quart  of 
turpentine  to  each  gallon  of  paint. 

( d ) Barns,  Corn-Cribs,  Fences  and  Sheds — To  Paint — S-W 

Commonwealth  Barn  Paint  (made  in  red,  gray  and  yellow)  is  excellent 
for  the  exterior  of  such  buildings.  Stir  paint  thoroughly  from 
bottom  of  can  and  apply  first  coat  thinned  with  one-half  gallon 
pure  raw  linseed  oil  to  each  gallon  of  paint,  using  a good  bristle  brush. 
Second  -coat  to  consist  of  the  paint  reduced  with  about  one-quarter 
gallon  oil  to  a gallon  of  paint.  Keep  well  covered  when  not  in  use. 
In  painting  an  old  surface,  see  that  all  loose  paint  is  removed. 

{e)  Roofs,  Fences,  Rough  Lumber,  etc. — To  Paint — S-W 

Creosote  Paint,  a prepared  material  made  up  in  a full  line  of  good 
colors,  is  suitable  for  surfaces  of  this  type.  To  apply,  stir  thoroughly 
from  the  bottom  of  the  can  and  brush  out  well  instead  of  applying  in  a 


Page  fourteen 


Exterior  Work 


thick,  heavy  coat.  If  necessary  to  thin,  use  about  a pint  or  a quart  of 
pure  raw  linseed  oil  to  each  gallon  of  paint.  On  old  surfaces,  see  that 
all  loose  paint  is  removed. 

(a)  Perches  and  Inside  of  Chicken-Houses — To  Protect — Use 

S-W  Lime-Sulfur  Solution  or  S-W  Carbolic-ol.  Apply  with  long- 
handled  window  or  wall-paper  brush,  or  apply  by  spraying. 

(b)  Screen  Frames  and  Wire — To  Paint — Use  S-W  Screen 
Enamel  (made  in  black  and  green).  Brush  the  surface  well  to  remove 
dust.  Apply  a coat  of  the  Screen  Enamel,  brushing  it  out  well  instead 
of  applying  it  in  a heavy  coat.  Paint  the  frame  with  the  same 
material  or  with  SWP  Black. 

( c ) Porch  and  Lawn  Furniture — To  Paint — S-W  Porch  and 
Lawn  Furniture  Enamel  is  suitable  for  finishing  all  styles  of  porch 
chairs,  lawn-swings,  benches,  seats,  with  a high  gloss,  etc.  Wash  the 
article  to  be  painted  thoroughly  and  see  that  it  is  dry  and  fr,ee  from 
grease.  Stir  the  Porch  and  Lawn  Furniture  Enamel  thoroughly 
before  applying,  and  spread  the  paint  on  evenly,  and  not  heavily. 
Use  a soft  bristle  brush.  If  the  material  seems  too  heavy  for  certain 
work,  it  can  be  thinned  slightly  with  pure  spirits  turpentine,  using 
about  a pint  to  a gallon  of  paint. 

(d)  Shingles,  Rough  Siding,  etc. — To  Stain — Use  S-W  Pre- 
servative Shingle  Stain  or  S-W  Carbolic-ol  as  it  comes  from  the  pack- 
age after  it  has  been  thoroughly  stirred  with  a broad,  flat  stick  or 
wooden  paddle.  (Also  stir  frequently  while  using  the  stain).  Apply 
two  brush  coats  on  lumber  already  in  place,  but  shingles  which  have 
not  been  laid  should  be  given  a dip  coat  before  being  laid  and  a brush 
coat  immediately  after  they  are  laid.  Do  not  soak  the  shingles  in  the 
stain.  Dip  them  in  and  out  rapidly. 

(e)  Rafters,  Half  - Timbers,  etc.-  This  treatment  is  frequently 
undertaken  in  finishing  the  exterior  lumber  on  dwellings,  the  walls 
of  which  have  been  constructed  of  concrete  or  stucco.  First 
apply  a coat  of  S-W  Preservative  Shingle  Stain  in  color  selected, 
and  follow  with  two  coats  of  S-W  Pure  Boiled  Linseed  Oil  which  should 
be  thinned  with  pure  spirits  turpentine,  using  about  one  pint  of 
turpentine  to  each  gallon  of  oil. 

(/)  Tin  and  Metal  Sheeting,  Cornices,  etc.-  To  Paint — S-W 

Galvanized  Iron  Primer  (made  in  gray)  should  be  used  as  the  first 
coat  for  galvanized  iron,  sheet  metal  surfaces,  etc.  It  is  ready  for 
application  and  should  be  brushed  out  thoroughly,  and  followed 
within  48  hours  with  a coat  of  SWP  in  desired  color.  For  the 
garbage-can,  sprinkling-can,  etc.,  apply  a coat  of  Galvanized  Iron 
Primer  outside  and  inside. 


Page  fifteen 


Exterior  Work 


(a)  Inside  of  Silos,  Hotbeds,  etc. — To  Paint — For  the  painting  of 
such  surfaces  and  for  lumber  below  the  ground  line,  such  as  the  ends 
of  fence-posts,  etc.,  apply  S-W  Carbolic-ol  with  a brush  and  allow  it 
to  soak  in  thoroughly.  This  material  acts  as  a preservative. 

( b ) Farm  Machinery,  Wagons,  Tools,  Implements,  etc. — To 
Paint — Use  S-W  Wagon  and  Implement  Paint.  See  that  the  surface 
to  be  painted  is  clean,  free  from  grease  or  oil  and  perfectly  dry.  Stir 
from  the  bottom  of  the  can  and  touch  up  the  bare  and  worn  spots 
with  a thin  coat.  Let  stand  until  perfectly  dry  (about  24  hours)  and 
apply  a smooth,  even  coat  over  the  entire  surface,  using  a bristle 
brush.  Keep  well  covered  when  not  in  use. 

( c ) Iron  Fences,  Blinds,  Store  Fronts,  etc. — To  Paint— S-W 

Verdelite,  a satisfactory  green,  made  in  four  shades,  is  suitable  for 
surfaces  of  this  character.  Thin  to  paint  consistency  with  S-W  Pure 
Boiled  Linseed  Oil.  Apply  same  after  thoroughly  stirring  and  brush 
out  well  instead  of  using  in  a thick,  heavy  coat.  All  loose  paint 
on  previously  finished  surfaces  should  first  be  removed. 

(d)  Fire  Escapes,  Iron  Blinds  and  Other  Exterior  Metal 
Surfaces — To  Paint  — S-W  Metalastic  (made  in  black,  brown, 
green  and  gray)  is  an  economical,  durable  paint  for  preserving  and 
protecting  metal  surfaces.  Before  it  is  applied,  all  foreign  substances, 
such  as  rust,  scale,  mineral  and  animal  oil,  should  be  thoroughly 
cleaned  off.  On  small  surfaces,  this  can  be  accomplished  with  a wire 
brush.  Where  rust  scale  is  deep  seated,  it  is  best  to  also  use  a gasoline 
torch.  The  Metalastic  is  ready  for  use,  and  requires  only  thorough 
stirring.  Brush  out  thoroughly  and  evenly,  filling  in  well  around 
rivets  and  like  places.  Two  coats  should  always  be  given — three  are 
better.  S-W  Roof  and  Bridge  Paint  is  another  material  which  can 
be  used  to  refinish  rough  lumber,  metal,  tin,  etc.  Instructions  for  its 
application  are  the  same  as  above. 

(e)  Silver,  Gold,  Brass,  etc. — To  Clean — Use  S-W  Bras-Brite. 

Shake  well  in  the  can  before  using,  and  apply  to  the  parts  to  be  treated 
with  a soft  cloth,  covering  thoroughly.  Allow  to  remain  on  the  surface 
a few  minutes  and  then  polish  with  a clean  woolen  cloth.  This  finish 
is  not  intended  for  dull  finished  brass,  but  for  that  which  has  been 
finished  with  a high  polish.  This  treatment  is  excellent  for  table 
silver,  watches,  etc.  Bras-Brite  is  put  up  in  handy  screw-top  cans,  in 
sizes  ranging  from  half  pints  to  gallons. 

(7)  Auto  Seats,  Buggy  Seats,  Backs,  Chairs,  etc. — To  Dress 
Leather — Apply  S-W  Auto  Top  Dressing  with  a soft  brush  and 
allow  to  dry  thoroughly  before  subjecting  to  any  use.  For  mohair 
and  other  porous  materials  reduce  50  per  cent  with  alcohol. 


Page  sixteen 


Exterior  Work 


(a)  Automobiles,  Carriages,  Buggies,  Baby  Carriages,  etc. 
To  Refinish — It  is  essential  before  undertaking  retinishing  of  this 
kind  to  see  that  the  temperature  under  which  the  work  is  conducted 
is  about  60,  65  or  70  degrees  Fahrenheit.  Thoroughly  wash  the 
surface  to  be  treated,  so  that  any  grease  which  may  be  on  it  will  be 
removed,  and  when  it  is  completely  dry,  sandpaper  the  old  varnish 
coat  with  medium  or  fine  sandpaper  and  then  dust  off  thoroughly. 
Flow  on  (that  is,  apply  with  the  brush  full)  a coat  of  S-W  Auto 
and  Buggy  Paint.  It  should  be  stirred  thoroughly  before  using.  After 
about  48  hours  has  been  allowed  to  elapse,  sandpaper  this  sur- 
face lightly  and  apply  a final  coat  of  S-W  Auto  and  Buggy  Varnish 
Clear  or  a coat  of  S-W  Carriage  A arnish.  If  a dull  polish  is  desired, 
rub  this  varnish  coat  after  it  has  been  allowed  to  dry  about  48  hours, 
using  pumice-stone  and  oil  for  the  purpose. 

In  order  that  automobile  owners  may  maintain  the  good  appear- 
ance of  their  cars  by  refinishing  them  themselves,  we  have  brought 
out  our  Special  Automobile  Refinishing  Outfit.  It  contains  every- 
thing necessary  for  refinishing  a moderate-sized  car,  and  if  the  con- 
tents are  used  as  directed,  an  automobile  can  be  made  to  look  like 
new  with  little  trouble. 

( b ) Carriage  Curtains, Tops,  Mohair,  etc.  ToDress — Use  S-VV 

Auto  Top  Dressing  or  S-W  Enamel  Leather  Dressing.  Have  the  sur- 
face to  be  painted  free  from  dust  and  thoroughly  dry  and  apply  a coat 
of  the  dressing,  brushing  out  thoroughly.  A second  coat  may  be 
applied  within  a day’s  time,  if  desired. 

( c ) To  Wash  Automobiles,  etc. — First  remove  all  mud  by  washing 
carefully.  Play  a stream  of  water  on  the  surface  to  be  cleaned,  using 
a hose  without  a nozzle,  and  held  so  close  that  the  stream  falls  on  the 
surface  at  an  angle.  Then  wash  off  grease,  dust,  etc.,  with  mixture  of 
Flaxoap  and  water  as  directed  on  page  2CW  for  washing  furniture. 

( d ) To  Polish  Automobiles,  etc. — Cleaned  as  directed  in  the  pre- 
ceding, apply  S-W  High  Polish  Fluid  Wax  with  a chamois  or  soft 
cloth,  rubbing  when  the  wax  has  been  allowed  about  twenty  to  thirty 
minutes  to  dry. 

( e ) To  Dust  and  Polish  Automobiles,  etc.  W hen  the  surface  is 
not  muddy  use  S-W  Polish-ol.  Apply  with  soft  rag  dampened  with 
Polish-ol,  rubbing  it  rapidly  over  the  surface.  This  treatment  removes 
the  bluish  cast  caused  by  dampness,  etc. 

(/)  To  Recoat  Tennis  Racquets — Use  S-W' Pure  Shellac.  Brush  on 
one  or  two  coats,  allowing  about  a day  between  applications.  This 
treatment  will  serve  to  preserve  the  strings  or  gut  and  renew  the  finish 
of  framework  as  well. 


Page  seventeen 


Interior  Work 


( a ) New  Woodwork  and  Furniture — To  Stain  and  Varnish — 

There  are  open  and  close-grained  woods  to  consider  under  this  head- 
ing. To  stain  baseboards,  doors,  and  other  open-grained  interior 
woodwork,  use  S-W  Golden  Oak  Stain,  reduced  about  one  part 
stain  to  two  parts  turpentine  and  two  parts  benzine,  or  S-W  Handcraft 
Stain  in  color  adapted  to  the  wood  (for  further  detail  on  this  subject, 
see  page  3 7-a,  b,  c).  Apply  with  a soft  fitch  brush  (see  page  40 -b),  and 
after  allowing  about  24  hours  for  thorough  drying,  spread  on  the  sur- 
face a thin  paste  made  of  S-W  Paste  Filler  in  desired  color  (S-W  Fillers 
are  made  in  Antique  Oak,  Golden  Oak,  Red  Oak,  Mahogany,  Walnut 
and  Transparent  Shades)  thinned  to  a creamy  consistency  with 
turpentine.  The  filler  will  harden  as  it  is  allowed  to  dry.  But,  before 
it  becomes  dry  (that  will  be  in  about  20  minutes  after  application), 
wipe  across  the  grain  of  the  wood — the  direction  opposite  to  th^t  in 
which  the  streaks  in  the  wood  run — using  burlap  or  excelsior.  After 
allowing  filler  to  set  for  about  24  hours,  follow  with  a thin  coat  of 
Shellac,  and  after  allowing  it  to  dry  about  24  hours,  sandpaper  lightly 
and  apply  two  coats  of  S-W  Scar-not  Varnish  or  S-W  Excello  Varnish. 
Lightly  sandpaper  the  first  coat  after  it  has  been  applied  for  24  hours, 
and  rub  the  last  coat  to  a dull  polish  with  pumice-stone  and  oil  or 
pumice-stone  and  water,  when  it  has  been  on  48  hours. 

Note — When  surfaces  are  to  be  subjected  to  an  unusual  amount 
of  moisture,  instead  of  the  Shellac  Coat  it  is  best  to  use  S-W  Scar-not 
Varnish  immediately  over  the  filler,  reducing  the  first  coat  of  varnish 
in  proportion  of  one  pint  of  turpentine  to  one  gallon  of  varnish — the 
succeeding  coats  to  be  applied  as  the  varnish  comes  from  package. 

Close-grained  wood,  such  as  pine,  cypress  and  birch,  should  be 
treated  the  same  except  that  the  use  of  the  paste  filler  is  unnecessary. 

A dull  polish  or  non-gloss  finish  may  be  produced  on  wood  sur- 
faces not  exposed  to  foot-wear  without  the  labor  of  rubbing  with 
pumice-stone  and  oil,  by  using  S-W  Velvet  Finish  Varnish  No.  1044 
as  a last  coat. 

( b ) Woodwork,  Furniture,  etc.— To  Wax  Finish — A wax  surface 
can  be  produced  over  any  finish  on  woodwork  by  applying  a final 
coat  of  S-W  Furniture  Wax.  To  produce  a wax  finish  when  staining 
woodwork  and  for  moderately-priced  work,  apply  one  coat  of  S-W 
Handcraft  Stain  in  the  desired  color  and  allow  to  dry  over  night. 
Then  use  one  coat  of  S-W  Mission-lac  which,  after  drying  about  24 
hours,  should  be  followed  with  a coat  of  S-W  Furniture  V ax.  The 
latter  should  be  applied  with  a soft  cloth,  rubbing  off  all  surplus  wax, 
and  in  this  way  giving  the  surface  a polish.  Although  this  finish  is 
not  as  durable  and  protective  as  one  employing  a varnish  such  as 
S-W  Scar-not  Varnish,  it  serves  satisfactorily  where  moderately- 
priced  work  rather  than  a lasting  finish  is  required. 


Page  eighteen 


Interior  w o rk 


{a)  Natural  or  Varnish  Finish  for  Woodwork,  Chairs,  etc. 

On  woodwork,  such  as  oak  and  chestnut,  which  has  an  open 
grain,  use  S-W  Paste  Filler  in  desired  color.  After  the  filler  has  been 
allowed  to  set  about  20  minutes  and  before  it  can  become  thoroughly 
hardened,  wipe  off  the  surplus  filler — that  which  has  not  entered  the 
pores  of  the  wood — by  using  a piece  of  burlap  or  a handful  of  excelsior 
across  the  grain  of  the  wood.  When  thoroughly  dry  (after  24  hours) 
apply  two  or  three  coats  of  S-W  Scar-not  Varnish  or  S-W  Exccllo 
Varnish,  allowing  24  hours  for  drying  between  coats  and  sandpapering 
the  first  coat  lightly  with  00  finishing  paper,  rubbing  the  last  coat 
with  pumice-stone  and  oil  or  pumice-stone  and  water  to  a dull  finish 
(after  48  hours).  Close-grained  wood,  such  as  pine,  cypress  and  birch, 
may  be  similarly  treated  except  that  the  paste  filler  is  not  required, 
and  in  place  of  it  a coat  of  S-W  Pure  V hite  Shellac  should  be  used, 
sandpapering  it  when  dry  before  applying  the  varnish  coat. 

(b)  Woodwork  or  Furniture — To  Enamel — Whitewood,  poplar 
or  birch  permit  of  producing  the  best  enamel  finishes.  Pine,  cypress, 
etc.,  can  be  used,  but  should  be  first  coated  with  Shellac,  which  will 
prevent  pitch  or  sap  in  the  wood  from  discoloring  the  enamel.  To 
produce  the  proper  white  undercoating  for  the  enamel — which  is 
semi-transparent  and  should  be  used  for  the  final  coat  or  coats — 
apply  S-W  Master  Painters  Undercoating  or  S-W  Flat-Tone  W hite 
in  three  or  more  coats.  After  allowing  24  hours  for  drying,  lightly 
sandpaper  each  coat,  except  the  last,  with  00  sandpaper.  Do  not 
drag  the  sandpaper  in  the  same  direction  with  the  brush  strokes, 
if  there  are  any  of  the  latter,  but  use  it  across  the  streaks  left  by  the 
brush.  Then  apply  one  or  more  coats  of  enamel,  using  S-W  Old  Dutch 
Enamel,  S-W  Snow  W hite  Enamel  or  S-W  Enameloid  W hite  for  white 
finish,  and  S-W  Enamel  in  desired  tint  for  enameling  in  color.  For 
fine  interior  work  rub  the  last  coat  of  enamel  to  a dull  polish  with 
pumice-stone  and  oil  or  pumice-stone  and  water.  To  secure  a dull 
finish  without  rubbing,  use  S-W  Old  Dutch  Enamel  Dull  for  last  coat. 

(r)  Mahogany,  Birch  or  Maple — To  Mahoganize — Apply  one 
coat  of  S-W  Permanent  Mahogany  Stain  No.  700  (made  in  Light 
Mahogany,  Dark  Mahogany  and  Brown  or  Antique  Mahogany). 
Allow  24  hours  to  dry  and  sandpaper  very  lightly  with  00  finishing 
paper.  Then  fill  the  grain  of  the  wood  (maple  and  similar  woods  do 
not  require  the  filler)  with  S-W  Mahogany  Paste  Filler,  wiping  off 
across  the  grain  with  burlap  or  excelsior  before  the  filler  has  become 
hard.  After  24  hours,  apply  a coat  of  S-W  Mission-lac,  and  when 
it  has  been  allowed  to  dry  a day  and  a night,  sandpaper  it  lightly 
with  00  finishing  paper.  Then  apply  two  coats  of  S-W  Scar-not 
Varnish,  the  first  of  which  should  be  sandpapered  after  being  al- 
lowed to  dry  24  hours  and  the  second  rubbed  with  pumice-stone  and 
oil  to  a dull  polish  after  standing  48  hours.  After  another  day,  polish 


Page  nineteen 


Interior  Work 


with  rottenstone  (a  greasy  substance  to  be  had  at  any  hardware  store). 

(a)  Woodwork  and  Furniture — To  Refinish — To  produce  the 
effect  of  a stained  and  varnished  surface  without  removing  the  old 
finish,  apply  a coat  of  S-W  Brighten  Up  Ground,  allowing  this  to 
dry  2d  hours.  Then  use  a Brighten  Up  Stain  in  color  desired,  applying 
as  it  comes  from  the  can.  As  this  coat  is  being  brushed  on,  and 
before  it  can  dry  (work  at  about  a square  yard  at  a time),  drag  an 
old,  clean  whisk-broom  over  the  surface  to  suggest  the  grain  of  the 
wood  by  the  streaks  its  bristles  leave.  This  Brighten  Up  Stain  Finish 
dries  with  a gloss,  but  a dull  finish  can  be  obtained  by  following  with  a 
coat  of  S-W  Velvet  Finish  Varnish  No.  1044.  This  Varnish  dries  flat. 

To  revarnish  a surface  which  is  not  badly  discolored,  remove 
grease,  stains  and  other  substances  which  may  not  be  apparent  but 
exist  on  a used  surface  — by  washing  with  soap  and  water.  When  the 
article  is  dry,  apply  one  or  two  coats  of  S-W  Scar-not  Varnish,  allowing 
not  less  than  a day  between  coats  for  drying.  The  first  of  the  two  coats 
should  be  lightly  rubbed  with  00  sandpaper  just  before  applying  the 
next  coat, and  the  glossof  the  last  coat  maybe  rubbed  to  a dull  polish 
with  pumice-stone  and  oil  after  it  has  been  allowed  to  dry  forty-eight 
hours. 

( b ) Previously  Finished  Wood  Surfaces — To  Grain — Old  wood- 
work, cupboards,  furniture,  etc.,  where  it  is  desirable  to  give  an 
appearance  similar  to  the  stained  and  varnished  finish  on  new  work, 
should  be  treated  as  follows:  Clean  the  surface  thoroughly  by  washing 
and  rinsing  well.  Allow  to  dry — sandpaper  smooth  any  rough  spots 
and  remove  loose  paint.  Then  apply  a coat  of  S-W  Brighten  Up 
Stain  Ground.  Stir  this  material  thoroughly  and  apply  with  a 
four-inch,  flat  bristle  brush.  Keep  the  material  stirred  as  applying 
same,  but  should  it  become  too  thick  for  easy  application,  add  just 
enough  turpentine  to  bring  it  back  to  its  former  consistency.  This  coat 
of  paint,  which  covers  up  the  old  finish,  should  dry  a day  or  so  before 
proceeding  with  the  work.  For  the  second  coat,  use  S-W  Grain- 
ing Preparation.  Brush  the  same  smoothly  over  the  surface, 
covering  about  an  arm’s  length  of  surface.  Then  immediately  go  over 
that  surface  with  the  graining  tool,  using  it  as  described  in  the 
following:  When  the  entire  surface  has  been  gone  over  with  the  Grain- 
ing Preparation  and  the  graining  tool,  allow  the  same  to  dry  for  a day 
or  overnight.  Then  follow  with  a coat  of  S-W  Brighten  Up  Stain. 
Use  Brighten  Up  Stain  Mahogany,  Cherry,  Rosewood  or  Walnut 
only  over  the  simple,  straight  grain,  as  described  below  under  (1). 
For  a dull  effect  over  the  Brighten  Up  Stain,  apply  a coat  of  S-W 
Velvet  Finish  Varnish  No.  1044,  as  above  recommended. 

The  graining  tool,  which  is  so  made  that  it  produces  three  (1), 
(2),  (3)  different  kinds  of  grain,  is  used  much  like  a brush.  On  one 
end  the  rubber  is  so  cut  that  it  gives  the  simple,  straight  grain  (1). 


Page  twenty 


Section  3 
Stenc  il  No.  43 


Section  4 
Stencil  No.  18  R 


Plate  XXVI 


See  Page  47  for  Specifications 


Section  l-~Stencll  No.  1048 


Section  1 — Stencil  No.  104  K 


Section  .4  —Stencil  No.  3009 


Section  4 —Stencil  No.  108  R 

Plate  XXXII 

See  Page  48  for  Specifications 


Interior  Work 


This  suggests  such  woods  as  Birch,  Walnut  and  straight-grained 
woods.  To  make  this  grain,  take  the  tool  firmly  in  the  hand  and  place 
its  flat  surface  on  the  wood  and  simply  draw  the  tool  along  the  surface 
of  the  wood,  holding  it  so  that  the  fingers  do  not  touch  the  surface, 
and  keeping  this  same  angle  throughout  the  stroke. 

On  the  rounded  surface  of  the  tool  the  rubber  is  so  cut  that  a 
plain  oak  grain  can  be  produced  (2).  Hold  the  handle  in  a vertical 
position  and  then  rock  the  tool  in  the  direction  of  the  grain  as  you 
glide  the  tool  along — a little  practice  will  soon  show  you  how  to 
handle  the  tool  for  best  results.  To  more  clearly  represent  the  actual 
oak  graining,  go  over  the  surface  (immediately  after  the  above  grain- 
ing has  been  undertaken)  with  the  straight  edge  of  the  tool  as  in  (1). 
To  produce  the  quartered  oak  grain,  use  the  side  of  the  tool  marked 
by  the  irregular  pieces  of  rubber  (3).  Simply  draw  this  end  of  the 
tool  across  the  graining  preparation  with  a rocking  motion,  and  then 
reverse  the  handle  and  use  the  straight  edge  as  in  (1). 

Note — Always  use  the  graining  tool  in  the  same  direction  as  the 
original  grain. 

To  refinish  as  in  new  work , first  remove  old  wax  with  turpentine 
and  old  paint  or  varnish  with  S-W  Taxite  as  directed  on  page  40 -a. 
When  the  original  surface  of  the  wood  has  been  exposed  in  this  way, 
proceed  as  directed  for  new  work  on  pages  18  and  19. 

(a)  Woodwork,  Shelves,  etc. — To  Paint — An  excellent  material 
with  which  to  refinish  kitchen  furniture,  woodwork,  shelves,  etc.,  is 
S-W  Family  Paint.  It  is  easy  to  apply  and  comes  in  beautiful  colors. 
Make  certain  that  the  surface  is  free  from  grease  and  perfectly  dry, 
and  apply  the  paint  in  two  coats  as  it  comes  from  the  can  after  being 
thoroughly  stirred.  Allow  about  24  hours  for  drying  between  coats. 

( b ) Floors — To  Varnish  — First  apply  S-W  Paste  Filler  (see  page 
18-a)  in  desired  color,  if  the  floors  are  of  oak  or  another  open-grained 
wood.  When  thoroughly  dry,  that  is,  after  about  24  hours,  sandpaper 
the  surface  till  smooth  with  00  sandpaper.  Then  apply  three  coats  of 
S-W  Mar-not' Varnish,  the  first  coat  to  be  thinned  with  one  pint  of 
pure  spirits  turpentine  to  each  gallon  of  Mar-not.  The  other  coats  of 
varnish  should  be  applied  as  the  material  comes  from  the  can.  See 
that  each  coat  is  given  about  24  hours  to  become  dry  before  applying 
the  next.  For  a dull  finish,  thelast  coat  should  be  rubbed  with  pumice- 
stone  and  oil  after  it  has  been  allowed  to  dry  at  least  48  hours. 

Floors  of  pine  and  similar  close-grained  wood  do  not  require  paste 
filler.  Aside  from  this,  however,  treatment  of  them  should  be  as 
directed  above  for  the  natural  varnish  finish. 

Note — Wh  ere  floors  are  finished  with  S-W  Mar-not  Varnish, 
never  use  liquid  fillers  or  shellac  as  under-coatings. 


Page  lwenly-lhree 


Interior  Work 


( a ) New  Floors — To  Stain — If  a color  darker  than  the  natural  is 
desired  on  oak  and  other  open-grained  wood  floors,  apply  a coat  of 
S-W  Handcraft  Stain  diluted  sufficiently  to  s:ive  the  right  color  with 
Handcraft  Stain  Reducer,  or  use  S-W  Oil  Stain  thinning  a gallon  of 
stain  with  a half  gallon  of  turpentine  (after  allowing  stain  to  take 
effect  about  20  minutes  after  application,  wipe  off  the  surplus  stain 
with  a soft  cloth).  After  about  24  hours,  follow  the  stain  with  a coat 
of  S-W  Paste  Filler  in  color  desired,  and  before  it  has  set  hard  (within 
20  minutes  of  application)  wipe  off  across  the  grain  with  burlap  or 
excelsior.  When  this  in  turn  is  dry,  apply  three  coats  of  S-W  Mar-not, 
thinning  the  first  coat  with  one  pint  of  pure  spirits  turpentine  to  each 
gallon  of  Mar-not  Varnish  and  using  the  second  and  third  coats  as 
Mar-not  comes  from  the  can.  Allow  24  hours  for  thorough  drying 
between  coats  and  rub  each  coat  except  the  last  with  00  sandpaper. 
For  a dull  finish  the  last  coat  should  be  rubbed  with  pumice-stone 
and  oil. 

Pine  floors  may  be  treated  in  the  same  manner,  omitting  the  use 
of  the  paste  filler. 

( b ) Floors — To  Wax — To  produce  a wax  finish  on  new  floors  and 
retain  the  natural  color  of  the  wood,  apply  a first  coat  of  S-W  Natural 
Paste  Filler  if  the  wood  is  open  grained  like  oak,  chestnut  and  ash. 
When  the  filler  has  been  allowed  24  hours  for  drying  after  that  part 
of  it  which  did  not  fill  the  pores  of  the  wood  was  wiped  off  across  the 
grain  with  burlap,  apply  one  or  two  thin  coats  of  S-W  Pure  White 
Shellac,  allowing  48  hours  for  each  coat  to  dry.  Then  apply  one  of  the 
following:  S-W  Floor  Wax,  S-W  High  Polish  Fluid  Wax,  S-W  Floor- 
wipe  or  S-W  Polish-ol  with  a soft  cloth,  or  S-W  Dancing  Floor  Wax 
sprinkled  on,  bringing  the  surface  to  a wax  polish.  Pine  floors  may  be 
treated  in  the  same  manner,  omitting  the  use  of  the  Paste  Filler. 

Floors  which  are  to  be  stained  before  being  given  the  wax  finish 
should  receive  a coat  of  Handcraft  Stain  diluted  sufficiently  to  give 
the  right  color  with  Handcraft  Stain  Reducer  and  this  should  be 
allowed  to  dry  overnight.  Then  proceed  as  directed  above  for  the 
application  of  Paste  Filler,  Shellac  and  Wax. 

( c ) Floors — To  Paint — It  is  on  old  floors  which  have  been  badly 
discolored  and  on  which  a moderately-priced  finish  is  desired  that 
painting  is  usually  undertaken.  The  surface  should  be  first  cleaned 
and  entirely  freed  of  grease  and  moisture.  Two  coats  of  S-W  Inside 
Floor  Paint  should  be  applied,  allowing  48  hours  between  coats. 

( d ) Floors — To  Refinish — To  refinish  floors  that  are  in  unsatisfac- 
tory condition  and  secure  effects  such  as  can  be  had  on  new  work, 
remove  the  old  finish  to  expose  the  original  surface  of  the  wood.  1 he 
method  of  procedure  for  this  operation  is  to  take  off  the  wax  with 


Page  twenty-jour 


Interior  Work 


turpentine  and  to  soften  the  varnish,  shellac  or  paint  on  the  surface 
with  S-W  Taxite  as  directed  for  the  use  of  that  material  on  page 
40 -a.  When  the  floor  has  been  restored  to  its  original  unfinished 
condition  in  this  manner,  varnish  or  stain  and  varnish  as  directed 
for  new  work,  pages  23 -b  and  24 -a,  b. 

To  refinish  old  floors  and  give  the  effect  of  a stained  and  var- 
nished surface  without  removing  the  old  material,  use  S-W  Brighten 
Up  Finish  Floorlac.  First  apply  a coat  of  Floorlac  Ground  as  it 
comes  from  the  can  after  making  certain  that  the  surface  is  free  from 
grease.  When  48  hours  have  been  allowed  for  thorough  drying,  apply 
a coat  of  S-W  Floorlac  in  the  color  selected,  using  a rather  coarse 
brush  for  the  application  and  then  pulling  an  old  clean  whisk-broom 
over  the  surface  before  the  finish  has  set  hard.  Only  such  amount  of 
surface  should  be  covered  as  can  be  conveniently  handled  in  the  above 
process.  When  the  entire  floor  surface  has  been  treated  in  this  manner 
and  after  the  Floorlac  in  color  has  dried  for  48  hours,  follow  with  one 
or  two  coats  of  Floorlac  Clear  or  S-W  Mar-not  Varnish.  This 
surface  can  then  be  treated  with  S-W  Floor  Wax,  if  a wax  finish  is 
desired. 

(a)  Old  Floors — To  Grain — Apply  a coat  of  S-W  Floorlac  Ground 
over  the  floor  surface  after  it  has  been  thoroughly  cleaned,  allowing 
this  coat  to  dry  over  night,  and  then  apply  a coat  of  S-W  Graining 
Preparation,  following  instructions  as  given  under  page  20 -b,  for 
using  graining  tool,  for  graining  of  previously  finished  wood  surfaces. 
Use  as  a surface  finish  S-W  Floorlac  in  place  of  S-W  Brighten  Up 
Stain  required  for  woodwork,  etc.  Then  follow  the  Floorlac  coat  with 
two  coats  of  S-W  Floorlac  Clear  or  S-W  Mar-not  Varnish.  Sand- 
paper lightly  between  coats  with  00  sandpaper.  The  last  coat  of 
finish  can  be  gone  over  with  S-W  Floor  Wax  if  a wax  finish  is  desired. 

(b)  Floors — To  Oil — -An  oil  finish  is  often  favored  as  an  inexpensive 
treatment  on  store  and  kitchen  floors.  It  is  best  to  oil  floors  im- 
mediately after  they  havebeenlaid  and  before  dust  and  other  particles 
have  been  ground  into  the  wood.  Have  the  surface  clean,  free  from 
spots  and  thoroughly  dry.  Apply  S-W  Special  Floor  Dressing  Oil 
or  S-W  Floorwipe  with  cheesecloth,  using  as  much  material  as  the 
wood  will  absorb,  rubbing  the  same  into  the  wood  thoroughly.  Allow 
to  dry  before  using  the  surface. 

(c)  Rough  or  Smooth  Plaster,  Unprepared  Canvas,  Muslin 
and  Plaster  Board — To  Paint — Apply  three  coats  of  S-W  Flat- 
Tone  Liquid,  the  first  coat  to  consist  of  equal  parts  Flat-Tone  and 
Mixing  Size  and  the  second  and  third  coats  of  Flat-Tone  Liquid  as 
it  comes  from  the  can  after  being  thoroughly  stirred.  Allow  24  hours 


Page  twenty-six 


Interior  Work 


for  thorough  drying  between  coats.  If  Liquid  Flat-Tone  is  a trifle 
heavy  for  second  and  third  coats,  it  may  be  thinned  with  pure  spirits 
turpentine,  using  about  a pint  of  turpentine  to  a gallon  of  paint. 

For  walls  and  ceilings  of  prepared  canvas,  prepared  muslin  or 
other  prepared  fabrics,  sized  plaster  board  or  primed  metal,  apply  two 
coats  of  S-W  Flat-Tone  Liquid  as  it  comes  from  the  can,  allowing  24 
hours  for  thorough  drying  between  coats.  If  the  Liquid  Flat-Tone 
is  a trifle  too  heavy,  it  may  be  thinned  with  pure  spirits  turpentine, 
using  about  a pint  of  turpentine  to  a gallon  of  paint. 

To  paint  a glossy  surface,  it  is  advisable  to  first  sandpaper  the 
surface  lightly  to  reduce  the  gloss  as  much  as  possible  before  applying 
the  paint.  Then  apply  S-W  Flat-Tone  in  two  coats  as  it  comes  from 
the  can  after  thoroughly  stirring.  Allow  24  hours  for  thorough  drying 
between  coats.  If  the  plaster  shows  in  any  worn  spots,  treat  those 
parts  with  a first  coat  of  Flat-Tone  to  which  a small  quantity  of  pure 
raw  linseed  oil  has  been  added,  using  about  a quart  of  oil  to  a gallon 
of  paint. 

To  apply  Flat-Tone  to  a surface  previously  finished  with  a water- 
paint  or  kalsomine,  wash  off  old  paint  with  soap  and  water  and  proceed 
with  the  application  of  Flat-Tone  Liquid  as  directed  for  new  work  in 
-he  first  part  of  these  instructions. 

It  will  be  advisable  to  cover  up  the  woodwork  and  floors  as  much 
as  possible  when  washing  off  the  water  paint  to  prevent  soiling  them. 

To  use  Flat-Tone  on  surfaces  previously  papered,  soften  the 
paper  by  using  warm  water  on  it  with  a cloth  or  sponge  so  that  it 
can  be  scraped  off  with  a chisel,  putty-knife  or  other  blunt  implement. 
When  the  paper  has-been  thoroughly  cleaned  off  the  surface  in  this 
manner  and  after  any  Cracks  that  may  be  in  the  plaster  have  been 
treated  or  filled  as  directed  on  page  39-rf,  proceed  with  the  applica- 
tion of  Flat-Tone  Liquid  as  for  new  work. 

(a)  Interior  Walls — To  Finish  in  the  Glaze  Effect  -S-W  Glaze 
Effects  for  walls  give  a flat  surface,  with  either  a blended  or  mottled 
treatment.  The  blended  (1)  is  that  which  shows  the  color  light  at  the 
upper  portion  of  the  wall  and  dark  at  the  lower,  with  the  middle 
portion  in  the  color  half-way  between  the  two,  blending  from  the  light 
to  the  dark.  The  mottled  treatment  (2)  is  that  which  shows  two  or 
three  colors  evenly  distributed  over  the  wall  surface,  but  these  two 
or  three  colors  give  a pleasing  iridescent  color,  for  instance,  of  a 
greenish,  gray-blue — if  green,  gray  and  blue  are  used — or  a warm 
russet-brown  shade — if  yellow,  green  and  red  are  used. 

To  produce  these  effects  the  same  under-coating  of  Flat-Tone  is 
required.  This  should  be  applied  as  directed  for  Flat-Tone  finish  on 
plaster  wall  surfaces,  etc.,  page  26-c. 


Page  Iwenly-tfven 


A Pleasing  Living-Room 

See  Page  4J  for  Specifications 


Modern  and  Effective  Color  Scheme  for  a Dining-Room 
See  Page  44  for  Specifications 


Interior  W ork 


To  glaze  the  Flat-Tone  surface,  use  S-\Y  Glazing  Liquid  and  S-W 
Glaze  Colors,  and  apply  roughly  to  the  wall  surface  with  a good  sized 
wall-brush. 

A mixture  of  a brushing  consistency  is  obtained  with  the  Glazing 
Liquid  and  the  Glaze  Color,  the  latter  coloring  the  former  (which  is 
a colorless  material)  and  giving  it  a shade  corresponding  to  the  Glaze 
Color  used.  For  medium  colors  about  pound  tube  of  Glaze  Color 
should  be  added  to  1 quart  of  the  liquid.  Better  to  add  less  than  that 
at  first,  to  .'.void  too  dark  a shade. 

Directions  for  Producing  (/)  the  Blended  Treatment — About 
one-quarter  of  the  mixture  of  Glazing  Liquid  required  for  the 
entire  wall  work  should  be  poured  into  a separate  receptacle.  The 
remainder  of  the  liquid  should  then  be  mixed  with  the  necessary 
Glaze  Color.  After  color  and  liquid  are  thoroughly  mixed  pour  about 
one-third  of  this  mixture  into  the  can  containing  the  uncolored  Glazing 
Liquid.  This  gives  one  part  of  a light  mixture  and  an  equal  part  of 
the  dark.  Apply  the  light  mixture  roughly  with  a brush  to  the  upper- 
half  of  the  wall,  covering  only  such  a portion  of  the  wall  as  can  be 
conveniently  handled  by  the  one  or  two  workers.  Apply  the  darker 
mixture  to  the  lower  wall,  overlapping  the  lighter  color,  so  that  the 
blending  will  begin  a little  higher  than  the  middle  line  of  the  wall. 
Then  proceed  to  finish  the  surface,  eliminating  all  brush-marks  by 
going  over  it  with  a regular  wall  stipple  brush  or  with  a crumpled 
cloth  held  loosely  in  the  hand. 

To  Use  the  Stipple  Brush,  which  is  a large,  long,  stiff-haired 
brush,  hold  it  flat  against  the  surface  so  that  the  hairs  are  at  right 
angles  to  the  wall,  raise  it  two  or  three  inches  from  the  wall  and  then 
strike  the  wall  gently  with  the  brush;  go  over  the  entire  surface  until 
a pleasing  even  effect  is  produced,  wiping  the  brush  with  a clean  cloth 
as  frequently  as  it  is  required,  so  that  the  color  will  not  be  changed. 
Begin  at  the  top  and  work  down.  Then  clean  the  brush  of  the  darker 
color  before  using  for  the  next  glazed-wall  space. 

To  Secure  the  Best  Results  With  the  Cloth,  select  clean  but  old 
cloth,  without  lint  (cambric  is  good),  hold  the  cloth  loosely  but 
firmly  in  the  hand.  Have  enough  material  to  obtain  a good  grip  and 
to  form  a soft  cushion.  Pat  the  wall  surface  lightly,  giving  just  a 
little  twist  to  the  wrist  before  releasing  the  pressure.  This  will  pick 
off  the  superfluous  color  and  will  take  out  all  the  brush-marks. 
Before  patting  the  next  space,  change  the  position  of  the  cloth  to  get 
a clean  place,  and  keep  on  doing  so.  This  process  is  almost  better  than 
the  brush,  as  the  cloth  can  be  kept  cleaner  than  the  brush  and  a more 
uniform  color  produced  throughout. 


Va^e  thirty 


Interior  Work 


Directions  Jor  Producing  {2)  the  Mottled  Treatment — The  same 
methods  with  regard  to  mixing  color  and  liquid  are  required  as 
for  the  blended  work,  but  each  color  to  be  used  is  mixed  separately 
with  the  glazing  liquid,  using  two  or  three  cans  as  may  be  required. 
It  is  not  necessary  to  make  a light  or  dark  shade  of  each  color,  though 
it  is  possible  to  do  so.  The  mixtures  can  be  applied  the  same  strength 
on  upper  and  lower  portions  of  the  wall  and  the  lighter  effect  then 
secured  on  the  upper  by  patting  the  wall  harder  and  removing  more 
of  the  mixture  from  the  surface.  Each  different  color  of  mixture 
should  be  applied  with  a separate  brush,  alternating  with  the  two  or 
three  colors  so  the  wall  will  be  evenly  spotted.  The  mixtures  can  be 
applied  roughly,  and  if  the  worker  uses  a little  ingenuity  very  artistic 
effects  will  be  obtained.  The  stippling  or  wiping  with  a cloth  is  a most 
important  part  of  this  finish,  as  the  different  colors  are  all  pulled 
together,  giving  the  finished  mottled  effect. 

(a)  Walls  and  Fabrics — To  Stencil — For  stenciling  plaster,  wood- 
work, canvas  or  plaster  board  painted  with  Flat-Tone  or  Flat-Tone 
System  Effect,  proceed  as  follows:  Apply  S-W  Flat-Tone  Glaze  and 
Stencil  Colors  or  S-W  System  Effect  Colors  as  we  direct  in  our  Stencil 
Catalogue.  Dip  the  stencil  brush  or  other  stiff  bristle  brush  in  the 
color  and  wipe  off  surplus  color  on  a piece  of  waste  cloth.  Lightly 
tap  the  brush  or  use  in  rotary  motion  on  that  part  of  the  surface 
which  is  exposed  by  the  openings  in  the  stencil  when  the  latter 
has  been  put  in  the  desired  place.  Be  sure  the  color  does  not  run 
or  spread  under  the  stencil  paper.  The  latter  action  in  the  paint 
would  indicate  that  the  brush  is  too  full  of  color  and  must  be  wiped 
more  thoroughly.  \\  hen  the  mixture  becomes  dry  or  stiff,  it  must 
be  thinned  with  pure  spirits  turpentine  to  the  consistency  of  stiff 
paste.  Only  a small  quantity  of  this  thinner  should  be  used  to 
prevent  the  color  from  spreading  on  the  surface  to  which  applied. 
Stenciling  fabrics  should  be  undertaken  in  the  same  manner.  Mix 
with  each  color  one-tenth  as  much  S-W  Stencil  Medium  to  assist  in 
settling  the  color  and  permit  washing.  In  fabric  stenciling,  it  is  ad- 
visable to  dispense  with  using  white  paint  in  the  mixture  of  color 
wherever  possible. 

If  you  have  never  used  our  stencil  material  before,  write  for  our 
new  Stencil  Catalogue. 

For  stenciling  water-tinted  walls,  and  for  scenic  painting,  mix 
gum  arabic  dissolved  in  water  or  fish  glue  with  S-W  Distemper 
Color  to  make  a paste  and  apply  with  a stencil  brush  or  other  stiff 
bristle  brush  through  the  openings  in  the  stencil,  which  should  be 
placed  in  position  on  the  wall. 

(b)  Metal  and  Plaster  Relief  Work — To  Paint  -Metal  or  plaster 

surfaces  having  relief  work  can  be  decorated  in  the  following  manner: 

Page  thirty-one 


Interior  Work 


Build  up  a groundworkof  S-W  Liquid  Flat-Tone  as  directed  for  Metal 
and  Plaster  Surfaces  on  page  26-c,  then  proceed  to  glaze  this  sur- 
face with  Glaze  Color  and  Glazing  Liquid,  as  explained  on  page  27-a, 
under  “Walls  to  be  Finished  in  the  Glaze  Effect.”  Glaze  Color  Raw 
Sienna  is  satisfactory  for  most  work.  Before  the  Glaze  Color  finish 
sets,  wipe  with  gentle  pressure.  This  removes  the  color  from  the 
raised  parts,  allowing  a little  tint  of  the  Flat-Tone  under-coating  to 
show  to  some  extent,  retaining  the  color  in  the  sunken  part  of  the 
relief  work.  This  produces  a two-toned  effect,  and  brings  out  the 
pattern  clearly. 

(a)  Walls  and  Ceilings — To  Enamel— To  prevent  the  surface  from 
absorbing  the  paint  too  rapidly,  apply  a first  coat  of  S-W  Wall  Size. 
When  this  has  been  allowed  to  dry  overnight,  apply  S-W  Enameloid 
or  S-W  Enamel  in  the  desired  shade  in  two  coats,  allowing  at  least 
24  hours  for  thorough  drying  between  coats.  Thin  the  first  coat 
slightly  with  pure  spirits  turpentine,  using  about  a pint  of  turpentine 
to  a gallon  of  paint,  and  apply  the  second  coat  as  it  comes  from  the  can. 

( b ) Keene’s  Cement,  Exterior  of  Bath-Tubs,  etc. — To  Enamel 

— A groundwork  must  first  be  produced  with  S-W  ODP  White  Lead  or 
S-W  Master  Painters  Under-coating  used  in  three  or  more  coats  as 
may  be  necessary.  At  least  24  hours  for  thorough  drying  should  be 
allowed  between  coats.  Then  apply  a coat  of  S-W  Old  Dutch  Enamel 
or  S-W  Sno\y  White  Enamel. 

(r)  Walls  With  Water  Paint — To  Tint — Use  S-W  Decotint.  First 
stop  suction  in  the  plaster  by  applying  a first  coat  of  S-W  Special 
Wall  Size.  Mix  S-W  Decotint  with  cold  wrater,  using  only  enough 
water  to  make  a heavy  paste  and  stir  thoroughly  until  all  lumps  have 
disappeared  before  thinning  still  more  with  water,  until  a mixture 
of  creamy  consistency  is  secured.  Then  apply  one  or  two  coats 
of  this  paint  with  a wide  kalsomine  brush.  For  previously  finished 
surfaces  the  size  coat  may  be  omitted. 

( d ) Walls — To  Kalsomine — Use  S-W  Kalso.  First  stop  suction 
in  the  plaster  by  applying  a coat  of  S-W  Special  Wall  Size.  Then 
apply  a coat  of  S-W  Kalso  after  it  has  been  mixed  properly,  applying 
the  color  with  a wide  kalsomine  brush,  that  is  using  the  color 
plentifully  and  dipping  the  brush  into  the  mixture  often.  To  mix  the 
S-W  Kalso,  proceed  as  follows:  Mix  about  five  pounds  of  the  dry 
Kalso  at  one  time,  placing  it  in  a bucket  and  adding  sufficient  boiling 
water  to  make  the  mixture  a heavy  paste.  Stir  with  a paddle  until 
free  from  lumps  and  then  add  about  a pint  and  a half  of  the  cold 
wrater,  after  wrhich  allow  to  stand  and  jell,  when  it  will  be  ready  for 
application.  If  too  heavy,  add  a little  more  cold  water.  When 


Page  thirly-two 


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Body  SWP387 
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Porch  Floor 
5M>orch  & Deck 
Pa mt  No.  50 
Porch  Ceilina 
SWKopa!  Varnish 
Exterior  Doom 

5 WP  393 


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found.moii  O.Jiiij  SW-1‘461 

vo.vu  savh  uoss  wurr: 

Water  lank  etc. 

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SM'  EM 'mOW SATIN  GIVEN 

WOODWORK  X'VAINSCCTIMC. 

0 tv  VARNISII  STAIN  LIGHT  OAK 

KI.OOI2 

sw  inside  tljoor  paint 

LIGHT  TAN 

TANK  & l>II>i:j> 

S-W  ALUMINUM  RAIN! 

NTOVItPIPE  & MEAT  Eli 
5-W  STOVEDWT.  UN  AM  HI.  \ 

Radiator 

V'CCn  iSWr.ALVAMZF.I)  WON  l>RI MTU 
STCCV/T cm/ yw FIAT TONE  OUD'COU) 

Tht ITII-  uW  S-W  GIAIE  CO/.P/fS  GO/./JCV  /S/TOhNS  OUT/:  LAKE 
e<jcn  reduced  m/ti  S' If  (>LAZ/yC>  fJQ(  //)  and npnfied sc/  'Nir.f/e/ 
to  produce  mot/ /at  (freon  & />rwf  Tone  or  CLi//  COl.Otf  5CA 
OMAWrcduced  SWG/AZ/HG  UQI/W 


Interior  Work 


convenient,  mix  Kalso  the  night  before  and  leave  it  in  a cool  place  to 
“jell”  overnight.  For  previously  finished  surfaces  the  size  coat  may 
be  omitted.  This  treatment  is  excellent  for  basement  walls. 

(a)  Metal-Lined  Bath-Tubs — To  Refinish— Use  S-W  Bath 
Enamel.  See  that  the  tub  is  absolutely  free  from  grease  and  soap, 
and  perfectly  dry.  Rub  the  surface  with  fine  sandpaper  or  with 
pumice-stone  until  it  is  smooth  so  that  the  enamel  will  more  easily 
adhere.  Stir  thoroughly  from  the  bottom  of  the  can.  Apply  with 
a fitch  or  soft  bristle  brush,  spreading  evenly,  and  in  thin  coats.  Allow 
about  24  hours  for  each  coat  to  dry,  and  for  best  results,  sandpaper 
lightly  with  fine  finishing  paper  or  moss  between  coats.  Three  coats 
are  necessary  if  a porcelain-like  surface  is  desired.  Several  days 
should  be  allowed  after  the  last  coat  has  been  applied  before  permitting 
water  to  touch  the  surface.  Then  run  cold  water  in  first  to  assist  it 
in  hardening.  If  the  enamel  is  too  heavy  to  work  freely,  thin  it  slightly, 
using  about  a pint  of  turpentine  to  a gallon  of  enamel.  Keep  the 
enamel  well  covered  when  not  in  use. 

( b ) Stove-Pipe  and  Iron  Enamel — To  Protect — S-W  Stove-Pipe 
and  Iron  Enamel  should  be  applied  with  a soft  rag  when  the  surface 
is  slightly  warm  and  should  be  allowed  to  dry  at  least  24  hours  before 
subjecting  it  to  high  temperature.  Under  this  condition  it  will  be 
practically  smokeless  and  will  produce  a better  and  longer  wearing 
enamel  on  the  surface  than  any  other  similar  material.  This  finish  is 
highly  inflammable,  and  should  not  be  exposed  to  flames  or  sparks. 

(c)  Picture  Frames,  Chandeliers,  Bird  Cages,  Gas  Jets,  etc. 
To  Gild— U se  S-W  Empress  Liquid  Gold  which  is  put  up  ready  for 
application.  First  clean  the  surface  as  thoroughly  as  possible  with 
a dry,  soft  cloth.  Then  apply  the  liquid  gold  with  the  brush  which 
comes  with  the  package. 

When  there  is  no  objection  to  mixing,  S-W  Imperial  Gold  Enamel 
may  be  used.  It  comes  in  powder  form  with  S-W  Gold  Enamel  Size, 
a dish  for  mixing  and  a small  brush  with  which  to  apply  it.  Mix 
the  powder  and  size  to  give  a thin  paste  and  apply  with  the  brush 
after  the  surface  to  be  treated  has  been  cleaned  with  a dry,  soft  cloth. 

(d)  Concrete  and  Cement  Floors — To  Finish — S-W  Concrete 
Finish  for  floors  is  suitable  for  both  exterior  and  interior  concrete 
and  cement  floors.  W hen  the  contractor  or  architect  has  been  con- 
sulted to  make  sure  that  the  cement  or  concrete  floor  is  thoroughly 
dry,  apply  a first  coat  of  S-W  Concrete  Floor  Finish  thinned  with 
about  a pint  or  a quart  of  turpentine  to  a gallon  of  the  paint.  Second 
and  third  coats  may  be  applied  as  the  paint  comes  from  the  can. 
Allow  at  least  24  hours  for  each  coat  of  paint  to  dry  thoroughly. 


PaRr  thirty-jour 


Interior  Work 


a)  Andirons,  Ornamental  Iron,  etc. — To  Paint  For  these 
surfaces,  use  S-W  Flat  Black.  It  comes  ready  for  use,  and  should  be 
applied  in  one  or  two  coats  with  a brush.  It  is  also  suitable  for  use 
on  wood  surfaces  to  give  the  effect  of  wrought  iron. 

b)  Radiators,  Boilers,  Water-Pipes,  etc. — To  Protect — There 
are  several  kinds  of  finishes  which  can  be  used  on  radiators,  water- 
pipes,  etc.  Where  a metallic  effect  is  desired,  S-W  Liquid  Gold  or 
S-W  Aluminum  Paint  may  be  employed.  One  coat  of  this  material 
should  give  a satisfactory  surface.  For  best  results,  apply  when  the 
surface  is  slightly  warm  and  after  use  allow  at  least  24  hours  before 
subjecting  to  high  temperature. 

If  a finish  matching  enameled  woodwork  is  desired,  use  S-W 
Fnamel  or  S-W  Enameloid  in  the  desired  tint  as  directed  for  wood- 
work, page  19 -b.  When  the  radiators  are  new  and  have  not  been 
given  a priming  coat  at  the  factory,  S-W  Galvanized  Iron  Primer  is 
necessary  as  a first  coat  (before  building  up  the  undercoating  of 
white  paint). 

Where  the  radiators  are  to  be  finished  to  match  the  walls,  employ 
one  of  the  following  methods:  (a)  If  the  surface  was  never  painted, 
apply  S-W  Galvanized  Iron  Primer,  and  in  twenty-four  hours,  apply 
second  and  third  coats  of  S-W  Flat-Tone  and  a coat  of  S-W  Glaze 
Color  thinned  with  S-W  Glazing  Liquid  as  directed  on  page  21 -a  for 
glazing  walls,  (b)  Apply  SAV  Aluminum  Paint  or  S-W  Empress 
Liquid  Gold,  and  after  twenty-four  hours,  use  S-W  Glaze  Color 
thinned  with  S-W  Glazing  Liquid  as  directed  for  last  coat  in  mottling 
walls,  page  2 7-a. 

c)  Decorative  Department  -Many  times  you  have  a paint  prob- 
lem before  you — such  as  what  color-scheme  to  use  on  the  outside  of 
your  house — how  to  redecorate  or  brighten  up  a room — or  even  what 
finish  would  be  most  suitable  for  a certain  piece  of  furniture.  At  such  a 
time  you  would  welcome  the  advice  of  an  experienced  decorator  if  you 
could  get  reliable  service  without  much  trouble  and  without  obligating 
yourself  in  any  way. 

The  Sherwin-Williams  Co.  conducts  a Decorative  Department  to 
cope  with  just  such  problems  as  you  encounter  repeatedly.  It  consists 
of  skilled  decorators  who  consider  your  particular  problem  and — free 
of  charge — give  you  advice  that  places  you  under  no  obligation  what- 
ever. 

To  take  advantage  of  this  free  service  it  is  only  necessary'  to  send 
such  information  as  will  guide  our  decorators  in  their  choice  of  suitable 
color-schemes.  A rough  pencil-sketch,  or  better  still,  blueprints 
should  be  sent.  With  this  information  to  guide  them,  our  decorators 
send  you  suggestions  best  suited  to  your  need.  Just  furnish  the  infor- 
mation we  have  recommended  to  the  Decorative  Department, 
The  Sherwin-Williams  Co.,  601  Canal  Road,  N.  W .,  Cleveland,  Ohio. 


Page  thirty-live 


Bright,  Cheerful  Bedroom 

See  Page  44  for  Specifications 


General  Directions— I nterior 


How  to  Select  Finishes  for  Interior 
Wood  Surfaces 

(a)  Open-Grained  Woods,  such  as  oak,  ash  and  chestnut,  can  be 
filled  with  S-W  Paste  Fillers  (which  can  be  had  in  shades  to  match 
finish  desired)  or  given  the  Mission  effect  by  finishing  without  the 
filler  using  varnish  or  stain  and  varnish.  Where  the  wood  is  to  be 
stained  it  is  necessary  to  use  the  stain  before  the  filler.  The  natural 
finish  may  be  produced  with  one  of  the  Paste  Fillers  and  Varnish. 

( b ) Close-Grained  Woods,  such  as  pine,  cypress,  fir,  redwood, 
spruce  and  hemlock,  do  not  require  the  use  of  Paste  Fillers.  They  can 
be  finished  natural  with  varnish,  with  shellac  and  wax,  or  they  can  be 
stained  and  varnished  or  stained  and  waxed. 

(c)  Whitewood,  Poplar,  Cottonwood  and  Birch  are  excellent 
for  enamel  work.  Pine  can  be  used,  but  requires  a first  coat  of  S-W 
Shellac  to  bind  rosin  or  pitchy  sap. 

Helpful  Suggestions 

(d)  To  thin  S-W  Golden  Oak  Stain , S-W  Oil  Stain  and  Varnishes , use 
turpentine;  to  thin  S-W'7  Jdandcraft  Stain,  use  S-W  Flandcraft  Stain 
Reducer. 

(e)  To  wash  furniture  and  woodwork , use  S-W  Flaxoap  with  three 
buckets  of  water  and  two  sponges.  One  bucket  and  sponge  should  be 
used  for  the  soap  and  water  washing,  another  bucket  and  sponge  for 
first  rinsing,  and  the  same  sponge  with  the  third  bucket  of  clear  water 
for  second  sponging. 

(/)  To  remove  paint  and  varnish  from  window-panes  or  other  glass 
surfaces,  use  hot  acid  vinegar,  or  for  a more  simple  method,  apply 
S-W  Taxite  to  soften  the  paint  when  it  can  be  scraped  or  wiped  off. 

(g)  To  make  a high  room  look  lower , use  a drop  ceiling;  that  is,  bring 
the  ceiling  color  on  to  the  wall  for  about  16  to  24  inches  according  to 
the  height  of  the  room. 

( h ) To  make  a narrow  room  look  "wider,  use  a plate  rail  or  chair  raii. 

Interior  Estimating 

(j)  In  estimating  the  amount  of  materials  required  for  interior 
decoration,  it  is  necessary  to  figure  each  room  separately.  The  three 
dimensions  of  the  room  are  necessary. 

To  determine  the  quantity  of  Flat-Tone  for  three-coat  work  on 
the  ceiling,  multiply  the  length  by  the  width  which  gives  the  square 
feet  of  ceiling  area,  divide  this  by  225  (covering  capacity  per  gallon 
of  Flat-Tone  for  three  coats).  This  will  give  the  approximate  number 
of  gallons  required  for  the  ceiling. 


COLUMBIA 


UNIVERSITY 


Page  Ihirty-seven 


General  Directions— Interior 


The  quantity  of  Flat-Tone  required  for  three-coat  work  on  the 
walls  can  be  estimated  in  the  following  manner:  Multiply  the 
distance  around  the  room  by  the  height.  This  gives  the  number  of 
square  feet  of  wall  space.  Subtract  from  this  20  square  feet  for  each 
window  and  21  square  feet  for  each  door.  Divide  the  number  of 
square  feet  which  remain  by  225  (covering  capacity  in  square  feet 
of  Flat-Tone  for  three-coat  work).  This  gives  the  quantity  in  gallons 
required  for  the  walls.  The  first  coat  of  Flat-Tone  should  be  mixed 
in  equal  parts  with  Flat-Tone  Mixing  Size.  If  the  number  of  gallons 
of  Flat-Tone  needed  for  the  ceiling  and  walls  be  added  and  the  result 
be  divided  by  6,  it  will  give  the  amount  of  Flat-Tone  Mixing  Size 
necessary  for  both  ceiling  and  walls. 

For  estimating  materials  required  for  blended  or  stippled  walls, 
write  the  S-W  Decorative  Department  and  information  will  be 
furnished. 

In  a room  of  average  size  (about  12  by  15),  there  is  usually  the 


following  woodwork: 

2 Doors  (21  square  feet  each)  ....  42  square  feet. 

Baseboard  (M  foot  high)  27  square  feet. 

3 Windows  (20  square  feet  each)  . 60  square  feet. 

Total 129 


The  distance  around  the  room  multiplied  by  the  height  of  the 
baseboard  gives  number  of  square  feet  in  the  baseboard.  Should  the 
surface  be  finished  natural  by  applying  a coat  of  Shellac  and  then  two 
coats  of  Scar-not  \ arnish  the  procedure  will  be  as  follows  in  estimating: 
Divide  the  square  feet  of  woodwork  by  480  (covering  capacity 
per  gallon  for  one  coat  of  Shellac)  which  will  give  the  number  of 
gallons  of  Shellac  necessary.  Multiply  the  square  feet  of  woodwork 
by  2 (for  two-coat  work)  and  divide  by  300  (covering  capacity  of 
Scar-not  to  the  gallon),  the  result  giving  the  number  of  gallons 
Scar-not  Varnish  needed.  To  determine  the  number  of  gallons  of 
stain  required  for  woodwork,  divide  the  area  of  the  surfaces  to  be 
treated  by  480  (number  of  square  feet  Flandcraft  Stain  covers  to  the 
gallon).  If  filler  is  to  be  estimated,  divide  the  area  in  square  feet  by 
30  (which  will  designate  the  number  of  pounds  needed). 

For  a white  enamel  finish,  divide  the  area  of  woodwork  in  square 
feet  by  250  (covering  capacity  of  one  gallon  of  under-coat  for  three- 
coat  work).  This  will  give  approximate  number  of  gallons  for  under- 
coating. Divide  the  square  feet  of  woodwork  by  250  which  will  give 
the  number  of  gallons  required  for  one  coat  of  white  enamel. 

If  floors  are  to  be  finished  natural,  three  coats  of  Mar-not  will  be 
necessary.  Multiply  the  area  of  the  floor  (length  times  width)  by 
3 and  divide  by  480  (covering:  canacitv Mar-not  one  gallon,  one  coat). 


Page  thirty-eight 


General  Directions  — Interior 


To  estimate  for  floors  to  be  stained,  divide  area  of  floor  by  480 
(number  of  square  feet  Handcraft  Stain  and  Handcraft  Stain  Reducer 
cover  per  gallon)  which  will  give  the  number  of  gallons  of  Handcraft 
Stain  Reducer  with  which  about  one-sixth  as  much  Handcraft  Stain 
should  be  used. 

( a ) Waxing — The  wax  intended  for  polishing, usually  conies  in  paste 
or  semi-solid  form.  S-W  High  Polish  Fluid  Wax  is  one  exception.  To 
apply  wax,  rub  a soft  cloth  well  on  the  wax  and  then  vigorously  rub 
the  cloth  on  the  woodwork  so  that  there  will  be  a sufficient  amount 
of  heat  generated  by  friction  to  partial!}'  melt  the  wax.  W hen  used 
in  this  way,  a smooth,  even  coat  of  the  wax  can  be  applied.  Often 
the  cloth  is  wound  around  a weighted  brush  or  other  article  to  give 
weight  and  increase  the  heat  of  friction.  To  estimate  the  number  of 
pounds  of  Floor  Wax  required,  divide  the  area  of  the  floor  by  250 
(covering  capacity  of  Floor  W ax  per  pound.) 

( b ) Drying — If  a preceding  coat  of  paint,  varnish,  enamel,  stain, 
etc.,  is  not  allowed  to  dry  sufficiently  before  applying  finishing 
material,  difficulty  may  arise.  Neither  is  it  advisable  to  allow  the 
coats  too  much  time  to  dry,  for  if  bone  hard,  the  surface  will  not  have 
enough  “tooth”  or  hold  for  the  new  material. 

(c)  Rubbing  With  Pumice-Stone  and  Oil — In  many  of  the  in- 
structions in  this  booklet,  rubbing  with  pumice-stone  and  oil  over 
varnished  and  enameled  surfaces  is  directed.  The  purpose  is  to  pro- 
duce a dull-polished  non-gloss  surface.  Use  powdered  pumice  which 
can  be  bought  at  any  drug  or  hardware  store.  A half  pound  will  be 
plenty  for  the  woodwork  or  floor  in  a room  of  average  size.  Dip  a 
nail  brush  or  vegetable  brush,  or  a soft  cloth  in  ordinary  sweet  oil 
or  in  linseed  oil  and  then  in  pumice,  and  then  rub  back  and  forth 
on  the  surface  to  be  treated,  working  on  about  a square  foot  at  a time. 
About  12  or  15  strokes  on  each  part  of  the  surface  will  serve  to  wear 
down  the  gloss  and  give  the  desired  effect.  If  any  pumice  remains  on 
the  surface,  it  can  be  wiped  off  easily. 

(d)  Filling  Cracks  in  Plaster — A wall  should  present  an  unbroken 
surface  before  it  is  decorated.  If  there  are  cracks  or  nail-holes,  they 
can  be  filled  until  even  with  the  surface.  Use  plaster  of  paris.  Mix 
with  water  to  form  a thick  paste.  To  keep  the  paste  in  this  consistency, 
add  a very  little  water  to  it  as  you  go  along,  and  as  the  preparation 
thickens.  Force  this  paste  into  the  cracks  and  holes  with  a flexible 
knife,  such  as  is  used  for  cake-mixing,  or  with  the  fingers.  If  this 
mixture  is  allowed  to  stand  until  it  becomes  hard,  it  can  not  be  used 
again,  and  should  be  discarded  and  a new  batch  should  be  made. 


Page  Unrty-nine 


G e n e ra  1 D 1 r e c 1 1 o n s — I n terior 


{a)  Paint  and  Varnish  Remover — S-W  Taxite  removes  paint  or 
varnish  from  an y surface  and  does  not  interfere  with  the  drying  or 
durability  of  subsequent  coats.  Taxite  does  not  injure  the  skin,  dis- 
color the  most  finely  grained  wood,  nor  soften  glue.  It  is  manu- 
factured in  both  liquid  and  semi-liquid  form,  the  latter  is  for  use  on 
vertical  surfaces. 

Apply  one  coat  with  a brush  and  allow  to  stand  for  ten  or 
fifteen  minutes.  Then  scrape  off  with  a blunt  knife  or  piece  of  glass. 
Clean  with  benzine,  gasoline  or  wood-alcohol  (being  careful  to  have 
no  flame  near)  and  the  surface  is  ready  for  refinishing.  Do  not  rub 
Taxite  in  with  the  brush.  If  the  first  coat  fails  to  remove  the  paint  or 
varnish,  apply  another  coat  and  allow  to  stand  ten  or  fifteen  minutes 
before  scraping  and  cleaning. 

BRUSHES— HOW  TO  USE 

( b ) To  apply  varnish  so  that  it  will  be  free  from  bubbles,  use  an  oval 
or  flat  chisel  brush,  ranging  in  width  from  1 inch  to  4 inches,  according 
to  the  size  of  the  surface  to  be  varnished. 

For  painting  interior  walls  and  ceilings,  use  a 4f^-inch  or  5 fl- 
inch bristle  brush.  Either  is  convenient  to  use;  the  inexperienced 
person  will  probably  prefer  the  smaller.  The  same  kind  of  brush  or  a 
4-inch  fitch  brush  may  be  used  to  apply  tinted  Glazing  Liquid  with 
which  preparation  mottled  and  blended  effects  can  be  secured,  and 
to  apply  stain  for  woodwork,  floors  and  furniture. 

Keep  varnish  brushes  in  turpentine,  other  brushes  may  be  left 
standing  in  water,  provided  they  have  been  cleaned.  If  brushes 
become  stiff  with  paint,  heat  vinegar  to  the  boiling  point  and  allow 
them  to  stand  in  it,  or,  use  S-W  Taxite,  the  paint  and  varnish  remover. 

Paint  for  interior  walls  and  ceilings  should  be  applied  with  a 
long,  even  stroke  from  side  to  side.  Woodwork  finishes  (stain,  varnish 
and  enamel)  should  be  applied  in  the  direction  in  which  the  wood 
grain  runs. 

Glazing  Liquid  when  tinted  for  mottled  and  blended  effects  can 
be  applied  with  almost  any  stroke,  or  even  by  strking  the  brush 
broadside  against  the  surface.  It  should  not  be  applied  thinly,  for 
as  much  color  as  the  brush  will  hold  without  dripping,  should  be  used. 
It  is  advisable  to  work  quite  rapidly  with  the  Glazing  Liquid,  so  that 
it  will  not  set  before  there  is  time  to  mottle  the  color  with  the  cloth  or 
sponge  advocated  for  the  purpose.  It  is  well  to  have  an  assistant  for 
the  glazing  process,  so  that  while  one  applies  the  paint  the  other  can 
follow  to  do  the  blending. 

*Note — Some  brushes  may  only  be  designated  by  their  trade  name,  and 
your  dealer  can  supply  you  with  the  right  kind. 


Page  forty 


Don’ts 


Don’t  leave  paint  uncovered  over  night. 

Don’t  leave  brushes  in  paint,  stain  or  varnish. 

Don’t  thin  paint  nor  clean  brushes  near  a flame. 

Don’t  use  an  interior  finish  for  an  exterior  surface. 

Don’t  use  a finish  prepared  for  standing  woodwork,  on  floors. 

Don’t  paint  around  the  edges  of  a floor  and  leave  the  center  for 
the  last. 

Don’t  use  any  finishing  material  without  first  stirring  it  thoroughly 
in  the  can. 

Don’t  skimp  on  plenty  of  good  linseed  oil  when  mixing  paint  for 
exterior  use. 

Don’t  use  enamel  brushes  to  stain  and  expect  to  use  them  for 
enameling  again. 

Don’t  repaint  until  all  leaking  roofs,  gutters  and  broken  spouts 
have  been  repaired. 

Don’t  use  any  new  finishing  material  over  a surface  which  has 
not  been  cleaned  first. 

Don’t  apply  flat  oil  paint  over  a water-tinted  wall  until  old 
material  is  washed  off. 

Don’t  apply  new  paint  over  blistered  paint  without  scraping  or 
burning  off  the  old  finish. 

Don’  t use  boiled  oil  in  any  first  coat,  S-W  Primers,  or  for  thinning 
S\\  P.  Use  pure  raw  linseed  oil. 

Don’t  paint  on  the  sunny  side  of  a house,  if  possible  ; avoid 
painting  in  the  direct  heat  of  the  Summer 

Don’  t use  an  interior  wall  brush  to  apply  exterior  paint.  See  sug- 
gestions for  the  selection  of  suitable  brushes  on  pages  10-c  and  40-£. 

Don’t  apply  exterior  paint  in  thick,  heavy  coats.  Brush  it  out 
well,  as  two  thin  coats  cover  better  and  protect  the  wood  more  than 
one  heavy  coat. 

Don’t  use  as  a first  coat  on  unfinished  wood  surfaces  any  but 
S-W  Primers  or  SWP  thinned  with  pure  raw  linseed  oil  and  turpentine 
according  to  instructions.  (See  page  11  -a). 

Don’t  apply  one  coat  of  paint  and  let  it  stand  a year  or  so  before 
applying  the  second.  It  will  have  weathered  to  such  an  extent  that 
the  final  results  will  not  be  nearly  as  satisfactory. 


Page  forty-one 


Don’ts 


Don’t  apply  stain  to  a painted  or  varnished  surface  before  re- 
moving the  old  finish.  S-W  Taxite  is  a paint  and  varnish  remover. 

Don’t  forget  that  “elbow-grease”  must  be  used  to  spread  any 
paint  out  into  thin  coats  and  to  brush  it  well  into  the  pores  of  the  wood. 

Don’t  apply  paint  over  a damp  or  wet  surface,  or  before  you  have 
an  architect  or  a contractor's  assurance  that  basements  and  the 
plaster  have  dried  out  thoroughly. 

Don’t  paint  around  fresh  mortar  beds,  on  account  of  the  tendency 
of  the  oil  in  any  paint  to  absorb  the  moisture  and  fumes  from  the  lime, 
destroying  the  life  of  the  oil  and  causing  the  paint  to  flat  out  and 
perish. 

Don’t  apply  a coat  of  paint  and  let  it  get  bone  hard  before  con- 
tinuing the  work.  If  the  under  surface  is  allowed  to  get  too  hard,  it 
will  not  have  the  proper  “tooth”  or  hold  to  allow  the  succeeding  coat 
to  get  a grip  on  it. 

Don’t  compare  the  price  of  SWP  with  that  of  other  paints  without 
considering  that  SWP  is  the  paint  that  covers  most  and  lasts  longest; 
the  paint  with  a trade-mark;  the  paint  that  is  the  result  of  half  a 
century  of  experience  in  the  manufacture  of  high-grade  finishes;  the 
paint  that  will  preserve  the  building  material  most,  and  the  paint 
that  will  cost  the  least  in  the  end. 


Page  forty-two 


Color  Plate  Effects 


How  to  Obtain  the  Effects  Shown  on 
the  Color  Plates 


Page  8 


Upper  Body — S\\  P No.  485. 

Lower  Body — SY\  P Gloss  \\  hite. 

Trimming  of  Upper  Body — S\\  P No.  352. 

Trimming  of  Lower  Body  and  Sash — S\\  P Gloss  White. 

Shutters — SWP  No.  371. 

Roof — S-W  Preservative  Shingle  Stain  C-72. 

Porch  Floor — S-W  Porch  and  Deck  Paint  No.  49. 

Porch  Ceiling — S-W  Rexpar  \ arnish. 

Exterior  Doors — S-W  Golden  Oak  Stain  and  S-W  Rexpar  Varnish. 


Page  12 

Body — SWP  No.  375. 

Trimming — SWrP  Gloss  W hite. 

Sash — SW  P Gloss  White. 

Shutters — SWP  No.  498. 

Roof — S-W  Preservative  Shingle  Stain  B-41. 

Porch  Floor — S-W  Porch  and  Deck  Paint  No.  18. 

Porch  Ceiling — S-W  Rexpar  t arnish. 

Exterior  Doors — S-W  Permanent  Mahogany  Stain  No.  700  and  S-W 
Rexpar  V arnish. 


Page  28 

Ceiling — S-W  Flat-Tone  Lichen  Gray. 

Wall — S-W  Flat-Tone  System  Effect  No.  25,  obtained  with  Flat- 
Tone  W hite  and  S-W  Glaze  and  Stencil  Color  Sage  Gray. 

Stencil — No.  5.  SWV  Glaze  and  Stencil  Colors:  Leaves,  Stencil  White 
1 part  and  Deep  Olive  1-5  part.  Flowers,  Orange  Lake  1 part 
and  Stencil  White  1-2  part. 

Woodwork — (Birch),  S-W  Mahogany  Stain  No.  700  and  S-W  Scar-not 
Varnish. 

Floor — (Oak),  S-W  Antique  Oak  Paste  Filler  and  S-W"  Mar-not 
Varnish. 

Curtains — W'hite  marquisette,  sill  length. 

Overcurtains — Printed  linen  or  figured  cretonne. 

Rugs — Oriental  or  Whittall  in  Oriental  patterns. 

Furniture — Mahogany,  with  a few  willow  pieces  finished  with  S-W 
Handcraft  Stain  Silver  Gray. 


Page  jorly-lhrec 


Color  Plate  Effects 


Page  29 

Ceiling — S-W  Flat-Tone  White. 

If  all — S-W  System  Effect  No.  32,  requiring  S-W  P lat-Tone  Piolland 
Blue  and  S-W  Glaze  and  Stencil  Color  Stencil  White. 

Woodwork — (Birch),  S-W  Permanent  Mahogany  Stain  No.  700  and 
S-W  Scar-not  Varnish. 

Floor — (Oak),  filled  with  S-W  Antique  Oak  Paste  Filler  and  finished 
with  S-W  Mar-not  Varnish. 

Curtains — White  etamine. 

Overcurtains — Kapock  silk  in  blue. 

Rugs- — Two-tone  velvet  in  brown. 

Furniture — Mahogany  Colonial  design. 


Page  36 

Ceiling — S-W  Flat-Tone  Caen  Stone. 

IF  all — S-W  Plat-Tone  French  Gray. 

Stencil — No.  3077.  Applied  with  S-W  Glaze  and  Stencil  Colors:  first 
color,  Japanese  Brown  1 part  and  Stencil  White  1-2  part;  second 
color,  Pieliotrope  Lake  1 part  and  Stencil  White  1 part. 

Woodwork , Cornice  and  Bookcase — S-W  Oil  Stain  Circassian  Walnut 
and  S-W  Scar-not  Varnish. 

Floor — (Oak),  S-W  Antique  Oak  Paste  Filler  and  S-W  Mar-not 
Varnish. 

Curtains — White  marquisette. 

Overcurtains — Printed  linen  or  cretonne  in  gray,  lavender  and  green. 

Rugs — Kilmarnock,  in  greens. 

Furniture — Walnut  upholstered,  and  willow,  in  gray  enamel. 


Page  forty-four 


WILLOW  GREEN 


GRASS  GREEN 


GREEN 


YELLOW 


RED 


WINE 


BLUE 


CARMINE 


LIGHT  GREEN 


ouiittiu 


S-W  Porch  and  Lawn 
Furniture  Enamel 


VERMILION 


CARMINE 


S-W  Wagon  and  Implement  Paint 


S-W  Auto  and BuggyPain 


VELLOW  VERMILION  CART  RED 


WINE 


GRAY  BRtWbTLR  GRLLN 


S-W  Handcraft  Stains 


1.  r A few  of  the  most  Popular  Colors 

The  above  color  samples  match  approximately  the 
actual  materia!  For  exact  shades  get  color  cards 
from  the  Sherwin-Williams  dealer 


mmiLM 


■M 


WKBMHBM I 


S W Handcraft  Stain 
Old  English  Oak. 


■W  Handcraft 
tain  Tavern  Oak 


RlRNITUliF.  AND  FLOORS  CAN  BE  PR0PFR1Y  FIN ISHED  WITH  S W MATERIALS 


SW  Golden  Oak  Stain 


No.2S-WMarnot 

Varnish 


No.3S-W  Floor-Lac 
Light  Oak 


No4SW1nside 

1:loorIXintGray 


Art.No.1 

This  Table  snows  the  effect  | 

OF  STAINING  OAK  WOOD  WITH 

S-W  Handcraft  Stain  Early  English  I 


Color  Plate  Effects 


PLATE  XXVI— Page  twenty-one 

The  following  specifications  tell  how  to  secure  the 
effects  shown  on  Plate  xxvi.  If  they  are  not  clear  to  you, 
write  our  Decorative  Department  for  further  information. 

Section  No.  I 

Suitable  for  living-rooms,  parlors,  and  such  store  interiors  as  florists, 
milliners  and  confectioners: 

Background — S-W  Flat-Tone  Cream  and  S-W  Glaze  and  Stencil  Color 
Sage  Gray,  blended  into  Heliotrope  Lake. 

Stencil — No.  100R.  S-W  Glaze  Colors:  Outline,  Raw  Umber,  filled  in 
as  follows:  Fruit,  Heliotrope  Lake  reduced.  Leaves,  Nile  Green, 
reduced.  Stems,  Raw  Sienna  reduced.  Shadows,  Raw  Umber 
1 part  and  Heliotrope  Lake  1-2  part  reduced.  Background, 
Cobalt  reduced. 

Section  No.  2 

Suitable  for  halls,  living-rooms,  clubs,  stores  and  public  buildings: 

Background — S-W  Flat-Tone  Cream. 

Special  Stencil  Decoration — S-W  Glaze  and  Stencil  Colors:  Outline, 
Burnt  Sienna  1 part,  Olive  Lake  1 part  and  Stencil  White  1-2 
part.  Eagle,  lion  on  shield  and  ends  of  mantling,  Olive  Lake 
reduced.  Helmet,  Olive  Lake  1 part  and  Cobalt  1-5  part  reduced. 
Inside  of  mantling,  Burnt  Sienna  greatly  reduced.  Crown, 
ribbon  and  halo,  Raw  Sienna.  Shadows,  Raw  Sienna  1 part  and 
Burnt  Sienna  1-10  part.  Border  of  Dots,  Raw  Sienna  reduced. 

Section  No.  3 

Suitable  for  banks,  churches,  public  halls,  libraries,  etc.: 

Background — S-W  Flat-Tone  System  Effect  No.  25. 

Stencil — No.  43,  used  as  border  decoration.  S-W  Glaze  and  Stencil 
Colors:  Burnt  Sienna  1-2  part,  Raw  Sienna  1 part  and  Raw 
Umber  1-3  part.  Border  filled  in  with  Raw  Sienna  and  Alizarin 
Green  Light,  applied  separately  to  the  various  leaf  portions. 
Highlight,  Chrome  Yellow  Light  1-2  part  and  Stencil  White 
1 part. 

Section  No.  4 

Suitable  for  dining-rooms,  cafes,  clubs,  etc.. 

Background — S-W  Flat-Tone  Silver  Gray  glazed  with  Golden  Brown 
and  Olive  Lake,  applied  separately  and  blended. 

Stencti — No.  18R.  Applied  with  S-W  Glaze  and  Stencil  Colors:  Out- 
line, Raw  Umber  1 part  and  Burnt  Sienna  1-2  part.  Fruit,  filled 
in  with  Orange  Lake  applied  thinly.  Stems,  filled  in  with  Raw 
Sienna  and  Raw  Umber,  equal  parts.  Leaves  touched  up  lightly 
with  Alizarin  Green  Light.  Shadows,  Raw  Umber.  High- 
lights, Chrome  Yellow  Light  1-3  part  and  Stencil  White  1 part. 


Page  forty-seven 


Color  Plate  Effects 


PLATE  XXX II — Page  twenty-two 

The  following  specifications  tell  how  to  secure  the 
effects  shown  on  Plate  xxxii.  If  they  are  not  clear  to  you, 
write  our  Decorative  Department  for  further  information. 

Section  No.  1 

Suitable  for  bank  interiors,  court-rooms,  etc.: 

Background — S-W  Flat-Tone  Silver  Gray. 

Stencil — No.  1048.  S-W  Glaze  and  Stencil  Colors:  Outline,  Raw 
Umber  1 part,  Italian  Blue  1-3  part,  filled  in  with  Italian  Pink, 
Alizarin  Green  Light,  Italian  Blue  and  Permanent  Crimson 
Lake,  each  color  reduced  with  Glazing  Liquid  and  applied 
separately.  Shadow's,  Rawr  Sienna  reduced. 

Section  No.  2 

Suitable  for  halls,  corridors,  lobbies,  libraries,  etc.: 

Background — S-W  Flat-Tone  Cream. 

Stencil — No.  104R.  S-W  Glaze  and  Stencil  Colors:  Outline,  Burnt 
Sienna  1 part  and  Raw' Sienna  1-2  part.  Leaves,  filled  in  with 
Alizarin  Green  Light,  reduced.  Stems  and  bands,  Raw  Sienna 
reduced.  Shadow's,  Permanent  Crimson  Lake  reduced. 

Section  No.  3 

Suitable  for  dining-rooms,  club-rooms  and  cafes: 

Background — S-W  Flat-Tone  Ivory  glazed  with  Glaze  Colors  Scarlet 
Orange  and  Persian  Brown,  each  color  applied  separately  and 
blended. 

Stencil — No.  3009.  S-W  Glaze  and  Stencil  Colors:  Outline,  Raw 
Umber.  Leaves,  two  colors:  Alizarin  Green  Light  and  Italian 
Blue,  each  color  applied  separately.  Stems,  Raw  Sienna.  Ber- 
ries, Permanent  Crimson  Lake.  Lights,  Chrome  Yellow  Light 
1 part  and  Stencil  White  1 part. 

Section  No.  4 

Suitable  for  reception  rooms,  parlors  and  dance  halls: 

Background — S-W  Flat-Tone  System  Effect  No.  26,  requiring  Flat- 
Tone  White  and  Glaze  Color  Steel  Green. 

Stencil — No.  108R.  S-W  Glaze  and  Stencil  Colors:  Outline,  Raw- 
Umber.  Filled  in  as  follows:  Flow'ers,  Heliotrope  Lake  reduced 
and  Raw  Sienna  reduced.  Ribbon  and  centers,  Alizarin  Green 
Light  reduced.  Stems,  Raw'  Sienna,  1 part  and  Heliotrope 
Lake  1-2  part  reduced.  Shadows,  Cobalt,  greatly  reduced. 

1‘age  jcrrty-eight 


Insecticides 


The  Protection  of  Trees,  Shrubbery,  etc.,  against 
Insects  and  Diseases — The  proper  care  of  decorative  shrubbery, 
ornamental  shade  trees,  flowers,  etc.,  is  of  vital  importance  in  assuring 
pleasant  home  surroundings.  Every  tree  or  plant  is  subject  to  attack 
by  insects  and  disease.  Spraying  is  recognized  as  the  only  adequate 
preventative  and  cure  for  these  pests.  Wonderful  results  can  be 
secured  with  a very  small  expenditure  of  money,  and  the  following 
brief  information  should  be  of  interest  to  home-owners  everywhere: 

In  the  Springtime,  before  the  buds  burst  and  while  the  trees, 
shrubbery,  etc.,  are  still  in  the  dormant  state,  a thorough  spraying 
should  be  given  with  a mixture  composed  of  from  10  to  12  pounds  of 
Sherwin-Williams  Dry  Lime-Sulfur,  as  it  comes  from  the  package, 
to  50  gallons  of  water.  All  branches,  twigs  and  limbs  should  be 
thoroughly  covered  with  this  solution,  which  tends  to  eradicate  the 
scale  insects  which  are  prevalent  in  all  parts  of  the  country. 

Later  in  the  Spring,  just  after  the  leaves  have  come  out,  another 
spraying  should  be  given  all  shrubbery,  using  a mixture  consisting 
of  one  and  a half  to  two  pounds  of  Sherwin-Williams  Dry  Lime- 
Sulfur  and  one  and  a half  to  three  pounds  of  Sherwin-Williams 
Dry  Powdered  Arsenate  of  Lead  in  50  gallons  of  water,  spraying 
so  as  to  cover  all  foliage  very  thoroughly.  This  application  will 
prevent  the  inroads  of  leaf-eating  and  chewing  insects,  as  well  as 
all  fungus  diseases. 

A month  or  six  weeks  later  an  additional  spraying  should  be 
made,  and  as  often  thereafter  as  found  necessary,  using  exactly  the 
same  mixture  as  described  in  the  preceding  paragraph.  The  cost  of 
this  treatment  is  very  small  and  insures  hardy,  luxuriant  foliage, 
free  from  blemish  and  insect  Infestation. 

Where  the  insect  known  as  the  Rose  Louse  is  prevalent,  it  is  well 
to  make  an  additional  spraying  when  the  louse  appears,  composed  of 
tobacco  extract  dissolved  in  water.  Satisfactory  tobacco  extracts 
can  be  purchased  at  any  seed  store,  and  full  directions  arc  usually 
given  on  the  package. 

S-W  Pruning  Compound  should  be  used  to  protect  trees  and 
shrubbery  from  which  old  branches  have  been  removed.  It  should 
be  applied  at  once  over  the  wound,  which  should  be  cut  clean  and  not 
jagged.  Use  either  a coarse,  stiff  brush  or  a putty-knife  for  the 
application.  It  seals  the  surface,  prevents  “bleeding”  of  the  sap.  It 
does  not  wash  off  with  the  weather. 

Further  information  and  complete  data  on  the  subject  of  spraying 
the  home  garden  can  be  procured  upon  application  to  the  Insecticide 
Department  of  The  Sherwin-Williams  Co. 


Page  forly-nine 


Sherwin-Williams  Products 


Paints,  Colors,  Etc. 


Paints,  Colors,  Etc. — Continued 


Aluminum  Paint 

American  White 

Auto  and  Buggy  Paint 

Auto  Top  Dressing 

Automobile  Refinishing  Outfit 

Bath  Enamel 

Bras-Brite 

Brighten  Up  Finishes 
Brighten  Up  Stain 
Bronzing  Liquid 
Carbolic-ol 

Carbolic-ol  Shingle  Stain 

Carbon  Paint,  Red  Diamond  Brand 

Cement  and  Stucco  Stains 

China  Gloss  White,  S\\  P 

Chlorocene 

Combination  Whites 

Commonwealth  Barn  Red 

Commonwealth  Barn  Gray 

Concrete  Finish  for  Walls  and  Floors 

Concrete  and  Cement  Hardener 

Copper  Paint 

Crack  and  Scam  Filler 

Creosote  Paint 

Cycle  Enamel 

Dancing  Floor  Wax 

Deco-Paste 

Dccotint  Wall  Finish 

Decotint  Wall  Colors 

Distemper  Colors  (Fresco) 

Drier,  English  Patent 
Dry  Colors 
Ebonol 

Elastic  Roof  Cement 
Empress  Liquid  Gold 
Enamel  Leather  Dressing 
Enameloid 
Enamel 

English  Patent  Drier 
English  Venetian  Red  (Paste) 

English  Vermilion  (Dry) 

Family  Paint 
Filler  (Liquid) 

Filler  (Paste) 

F'irst  Quality  Oil  Colors 
Flat  Black 
Flat  Brick  Red 
Flat  White,  SWP 
Flat-Tone  (Liquid) 

Flat-Tone  Glaze  and  Stencil  Colors 
Flat-Tone  Glazing  Liquid 
Flat-Tone  Mixing  Size 
Flaxoap 
Floor  Finishes 


Floorlac 

Floor  Wax 

Floor  Wax,  Dancing 

Floorwipe 

Fluid  Wax,  High  Polish 
Free-Flowing  Color  Varnishes 
French  Crown  Green,  SWP 
French  Crown  Green  (Paste) 

French  Zinc  in  Varnish 
Galvanized  Iron  Primer 
Glaze  and  Stencil  Colors 
Glazing  Putty 
Gloss  Whites,  SWP 
Gold  Paint  and  Gold  Enamel 
Golden  Oak  Stain 
Gold  Size  (Cornish  Eureka) 

Graining  Colors  (Prepared  in  Oil  and  in  Distem- 
per) 

Graining  Preparation 

Graphite  Pipe  Joint  and  Gasket  Compound 
Graphite  (Black  Lead) 

Greens — 

Creosote  (Liquid) 

French  Crown  (Paste) 

French  Crown,  SWP 
Handcraft  Stains 
Harmless  Sheep  Marking  Liquid 
High  Polish  Fluid  Wax 
Imperial  Gold  Enamel  (Lustrolinc) 

Inside  Floor  Paint 

Inside  Varnish  White,  SWP 

Kalso 

Linoleum  Cement 
Linseed  Oil 

Linseed  Oil  (Medicinal) 

Linseed  Oil  Soap 
Liquid  Filler 
Liquid  Gold 

Lustrolinc  Imperial  Gold  Enamel 
Machine  Paint  and  Filler 
Medicinal  Linseed  Oil 
Mctalastic  (Liquid) 

Metallic  Brown  (Paste) 

Metallic  Brown,  SWP 
Mine,  Mill  and  Factory  Colors 
Mixing  Size  (Flat-Tone) 

Moss  Green,  SWP 
Non-Corrodiblc  Graphite  Paint 
Ochre  (Paste) 

Oil  Colors 
Oil  Stain 

Old  Dutch  Enamel 

Old  Dutch  Process  White  Lead 

Outside  Gloss  White,  SWP 


Page  fifty 


Sherwin-Williams  Products 


Paints,  Colors,  Etc. — Continued  S-W  Varnish  Leaders — Continued 


Faint  and  Varnish  Remover 
Paste  Colored  Paint 
Paste  Filler 

Perfect  Method  System  for  Carriage  Painting 
Permanent  Cardinal  Red,  SWP 
'<  rmanent  Mah< >ga n>  Stain  No  M ) 
Permento 
Polish-ol 

Porch  and  Lawn  Furniture  Enamel 
Porch  and  Deck  Paint 
Powdered  Floor  W ax 
Prepared  Graining  Colors 
Preservative  Shingle  Stains 
Primer,  Gray  and  Yellow,  SWP 
1 Juick-Drying  Colors 
Quick-Drying  Colors,  'l  ubes 
Red  Lead  (Paste) 

Roof  and  Bridge  Paint 

Schoolboard  Slating 

Screen  Enamel 

Sheep-Marking  Liquid 

Shingle  Stains,  Preservative 

SWP  (Sherwin-WT.iams  Paint,  Prepared) 

Special  Colors  (Paste) 

Stencil  Colors 
Stencil  Outfits 
Stencils 

Stove-Pipe  and  Iron  Enamel 
Taxite  (paint  and  varnish  remover) 

Tire-Coat  (for  renewing  auto  tires) 

Venetian  Red 
Verdelite 

Wagon  and  Implement  Paint 
Waxes— 

Dancing  Floor  (Powdered) 

Floor  Wax  (Paste) 

High  Polish  Fluid 
White  Lead  (Paste) 

W hite  Zinc  (in  Oil ) 

Whites,  SWP 
Woodcraft  Stains 
Wood  Crack  Filler 
W ood  Preservatives — 

Carbolic-ol 
Chlorocene 
Yellow  Ochre  (Paste) 

Zincs  in  Oil,  White 
Zinc  in  Varnish,  French 
Zinc  (Dry) 

Zinc  (Leaded) 

S-W  Varnish  Leaders 

MAR-NOT 
Hard  Drying  Floor 


No.  1 Floor 

Durable  Linoleum  Finish 

SCAR-NOT 

REX PAR 

Kopal 

Excello 

Finest  While  Darnar 
Pale  Flowing  Cabinet 
Premo  Hard  Oil 
Interior  Coach 
High  Gloss  Interior 
Velvet  Finish  No.  1044 
Mission-lac 
Hard  Drying  Seat 
No.  1 Coach 
Premo  Furniture 

FIRST-COATERS  AND 
LIQUID  FILLERS 

First-Coaters 

Mission-lac 
Shellacine 
Liquid  Filler 
Wrall  Size 

Driers  and  Japans 

Hercules  Drier 

Dry-o-nite  (the  Master  Painters  Drier) 
Japan  Drier 
Gold  Size  Japan 
Coach  Painters  Japan 

Asphaltums 

Finest  Turpentine  Asphaltum 
No.  1 Asphaltum 
Premo  Asphaltum 

Shellacs 

Pure  White  Shellac 
Pure  Orange  Shellac 
White  Shellac 
Orange  Shellac 

Carriage  Varnishes 

Whitest  Body  Finishing 

Wearing  Body  Finishing 

Carriage  Body  Finishing 

Whitest  Gear  Finishing 

Elastic  Gear  Finishing 

Pale  Perfection  Gear 

One-coat  Carriage  (.Body  or  Gear) 


Page  fifty-one 


Sherwin-Williams  Products 


Carriage  Varnishes — Continued  Insecticides 


Extra  Pale  Express  Coach 
Hard  Drying  Gear 
W agon  Coach 
W hitest  Body  Rubbing 
Extra  Pale  Body  Rubbing 
Pale  Quick  Rubbing 
Quick  Rubbing  1 Body  or  Gear) 
Gear  Rubbing 


Cattle  Dip  No.  15 

Fungicides 

Insecticides 

Dry  Powdered  Lime-Sulfur 
Lime-Sulfur  Dip 
Paris  Green  (Dry) 

Pruning  Compound 
T uber-Tonic 
Fungi-Bordo 


Page  fifty-two 


The  Sherwin-Williams  Co. 

FACTORIES  AND  OFFICES 

CLEVELAND,  601  Canal  Road,  X.  V 
CHICAGO,  Pullman  Station 
NEWARK,  Brown  Street  and  Lister  Avenue 
MONTREAL,  897  Centre  Street 
LONDON,  ENGLAND 

WAREHOUSES  AM)  OFFICES 

ALBANY,  3S0  Broadway 
BALTIMORE,  8 West  Fayette  Street 
BINGHAMTON,  N.  Y.,  115  Court  Street 
BIRMINGHAM,  2021  No.  Third  Avenue 
BOSTON,  11-13-15  Stillings  Street 
BUFFALO,  66-68  Erie  Street 

CHICAGO,  City  Office,  1101  People's  Gas  Building 
CHICAGO,  Warehouse,  2355-57  LaSalle  Street 
CINCINNATI,  Sixth  and  Main  Streets 
COLUMBUS,  16-20  East  Chestnut  Street 
DALLAS.  1613-21  Wall  Street 
DENVER,  622  Fifteenth  Street 
DETROIT,  475  Trombley  Avenue 
FORT  WORTH,  TEXAS,  700  Houston  Street 
HOUSTON,  2108-12  Preston  Street 
INDIANAPOLIS,  34  So.  Meridian  Street 
KANSAS  CITY,  1400  St.  Louis  Avenue 
KNOXVILLE,  506  Gay  Street 

LONDON,  ENGLAND,  7 Well  Court,  Queen  Street,  E.  C. 

LOS  ANGELES,  816-822  Traction  Avenue 
MINNEAPOLIS,  701-705  Third  Street,  North 
NASHVILLE,  Fifth  Avenue  and  Union  Street 
NEW  ORLEANS,  317  Camp  Street 

NEW  YORK,  119-123  West  31st  Street  and  116-120  West  32nd  Street 

OMAHA,  Corner  Tenth  and  Dodge  Streets 

PASADENA,  CAL.,  113-1 15  East  Colorado  Street 

PEORIA,  ILL.,  318  So.  Adams  Street 

PHILADELPHIA,  Delaware  Avenue  and  Chestnut  Street 

PITTSBURGH,  927  Liberty  Street 

PORTLAND,  ORE.,  469-471  Everett  Street 

SAN  ANTONIO,  101  East  Commerce  Street 

SAN  FRANCISCO,  454-466  Second  Street 

SAVANNAH,  745  V heaton  Street 

SEATTLE,  512  First  Avenue,  South 

SPOKANE,  Corner  Railroad  Avenue  and  V all  Street 

ST.  LOUIS,  Second  and  Clinton  Streets 

TORONTO,  86  York  Street 

VANCOUVER,  827  Powell  Street 

WACO,  720  Austin  Street 

WINNIPEG,  Corner  Vincent  and  V hyte  Avenue 


Designed  and  Printed  by  the 
Advertising  Department  of 

The  Sherwin  ■ Williams  Co. 


BM»  Caw.  BIT  7*4 


